DOCSLIB.ORG

Tv Land Serves up a Hearty Feast of Thanksgiving Programming Beginning Thursday, November 22

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tv Land Serves up a Hearty Feast of Thanksgiving Programming Beginning Thursday, November 22 Contacts: Elaine Wilcox Vanessa Reyes-Smith TV Land TV Land 212-846-5502 310-752-8081 TV LAND SERVES UP A HEARTY FEAST OF THANKSGIVING PROGRAMMING BEGINNING THURSDAY, NOVEMBER 22 Los Angeles, CA, November 7, 2007 - TV Land celebrates Thanksgiving with a four-day marathon guaranteed to satisfy the heartiest of appetites when the network rolls out a cornucopia of shows during TV Land’s Overstuffed Thanksgiving Weekend beginning Thursday, November 22 at 10:00am (ET/PT) through Sunday, November 25 (ET/PT). Fans can indulge in a generous helping of classic TV hits including Sanford and Son, Bonanza, Gunsmoke and special episodes of I Love Lucy and The Andy Griffith Show stuffed with fun facts and trivia. The marathon will also include appetizing encore presentations of TV Land’s original hit series Entertainment Weekly and TV Land Present: The 50 Greatest TV Icons and TV Land and TV Guide’s 100 Most Memorable TV Moments as well as extra helpings of iconic movies such as Saturday Night Fever and Beaches. TV Land’s Overstuffed Weekend schedule is as follows (all times ET/PT): Thursday, 11.22.07 Friday, 11.23.07 Saturday, 11.24.07 Sunday, 11.25.07 10A I Love Lucy #12 Sanford and Son #2 I Love Lucy #30 10A 'Entertainment Weekly I Love Lucy #15 Sanford and Son #3 I Love Lucy #36 and TV Land Present: The 11A 11A I Love Lucy #24 Sanford and Son #4 50 Greatest TV Icons I Love Lucy #82 I Love Lucy #54 Sanford and Son #5 I Love Lucy #146 12P I Love Lucy #146 I Love Lucy #24 I Love Lucy #30 12P Bonanza #163 I Love Lucy #18 I Love Lucy #18 I Love Lucy #69 1P I Love Lucy #25 I Love Lucy #125 I Love Lucy #36 1P Bonanza #164 I Love Lucy #69 I Love Lucy #146 I Love Lucy #082 2P I Love Lucy #82 I Love Lucy #69 I Love Lucy #146 2P Bonanza #165 I Love Lucy #154 I Love Lucy #82 3P I Love Lucy #154 3P I Love Lucy #45 Gunsmoke #147 I Love Lucy #45 Beaches 4P I Love Lucy #51 I Love Lucy #51 4P Gunsmoke #148 I Love Lucy #12 5P I Love Lucy #15 TV Land and TV Guide 5P Gunsmoke #149 I Love Lucy #24 Beaches Most Memorable #3 6P I Love Lucy #54 TV Land and TV Guide Andy Griffith #37 6P I Love Lucy #146 Most Memorable #4 Andy Griffith #74 7P I Love Lucy #18 Extreme Makeover: TV Land and TV Guide Andy Griffith #48 7P I Love Lucy #25 Home Edition (P) Most Memorable #5 Andy Griffith #55 8P I Love Lucy #69 Sanford and Son #1 Andy Griffith #67 8P I Love Lucy #82 Sanford and Son #2 Andy Griffith #68 9P I Love Lucy #154 Sanford and Son #3 Saturday Night Fever Andy Griffith #165 9P I Love Lucy #45 Sanford and Son #4 Andy Griffith #166 10P I Love Lucy #51 Andy Griffith #167 10P I Love Lucy #125 Andy Griffith #48 Andy Griffith #168 Saturday Night Fever 11p Andy Griffith #55 Andy Griffith #75 11p (P) Andy Griffith #67 Andy Griffith #83 12A Andy Griffith #68 Andy Griffith #125 12A Entertainment Andy Griffith #37 Andy Griffith #190 1A Weekly & 1A Andy Griffith #75 Andy Griffith #78 TV Land Present: 50 Greatest TV Icons 2A Andy Griffith #74 Andy Griffith #90 2A Andy Griffith #83 3A Andy Griffith #125 3A Andy Griffith #165 4A Andy Griffith #166 4A Andy Griffith #167 5A Andy Griffith #168 5A Andy Griffith #190 TV Land and all related logos and titles are trademarks of Viacom International Inc. TV Land continues to build the ultimate entertainment brand on all platforms for consumers in their 40s and 50s. Armed with a slate of original programming, newly acquired classic and contemporary TV, hit movies and its redesigned website -- TVLand.com -- the network is uniquely positioned to superserve the first generation of Americans who grew up alongside television. The network's program mix features original programming, popular dramas, sitcoms and westerns in a fun-filled, pop culture environment featuring a roster of popular shows including All in the Family, M*A*S*H, The Andy Griffith Show and Just Shoot Me, which joins TV Land in January, 2008. In the coming months, the network will roll out a slate of new original series' such as High School Reunion, She's Got The Look, Family Foreman and The Big 4-0. TVLand.com, the network's Emmy Award- winning website, is devoted to all aspects of entertainment including TV, music and movies and features full-length episodes, a movie trailer database and over a dozen radio stations. TV Land is now seen in over 90 million U.S. homes. MTV Networks, a unit of Viacom (NYSE: VIA, VIA.B), is one of the world's leading creators of programming and content across all media platforms. MTV Networks, with more than 140 channels worldwide, owns and operates the following television programming services - MTV: MUSIC TELEVISION, MTV2, VH1, mtvU, NICKELODEON, NICK at NITE, COMEDY CENTRAL, TV LAND, SPIKE TV, CMT, NOGGIN/THE N, VH1 CLASSIC, LOGO, MTVN INTERNATIONAL and THE DIGITAL SUITE FROM MTV NETWORKS, a package of 13 digital services, all of these networks trademarks of MTV Networks. MTV Networks connects with its audiences through its robust consumer products businesses and its more than 300 interactive properties worldwide, including online, broadband, wireless and interactive television services and also has licensing agreements, joint ventures, and syndication deals whereby all of its programming services can be seen worldwide. # # # .
Load more

Recommended publications
  • University of Florida Thesis Or Dissertation Formatting
    THE TELEVISED SOUTH: AN ANALYSIS OF THE DOMINANT READINGS OF SELECT PRIME-TIME PROGRAMS FROM THE REGION By COLIN PATRICK KEARNEY A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2020 © 2020 Colin P. Kearney To my family ACKNOWLEDGMENTS A Doctor of Philosophy signals another rite of passage in a career of educational learning. With that thought in mind, I must first thank the individuals who made this rite possible. Over the past 23 years, I have been most fortunate to be a student of the following teachers: Lori Hocker, Linda Franke, Dandridge Penick, Vickie Hickman, Amy Henson, Karen Hull, Sonya Cauley, Eileen Head, Anice Machado, Teresa Torrence, Rosemary Powell, Becky Hill, Nellie Reynolds, Mike Gibson, Jane Mortenson, Nancy Badertscher, Susan Harvey, Julie Lipscomb, Linda Wood, Kim Pollock, Elizabeth Hellmuth, Vicki Black, Jeff Melton, Daniel DeVier, Rusty Ford, Bryan Tolley, Jennifer Hall, Casey Wineman, Elaine Shanks, Paulette Morant, Cat Tobin, Brian Freeland, Cindy Jones, Lee McLaughlin, Phyllis Parker, Sue Seaman, Amanda Evans, David Smith, Greer Stene, Davina Copsy, Brian Baker, Laura Shull, Elizabeth Ramsey, Joann Blouin, Linda Fort, Judah Brownstein, Beth Lollis, Dennis Moore, Nathan Unroe, Bob Csongei, Troy Bogino, Christine Haynes, Rebecca Scales, Robert Sims, Ian Ward, Emily Watson-Adams, Marek Sojka, Paula Nadler, Marlene Cohen, Sheryl Friedley, James Gardner, Peter Becker, Rebecca Ericsson,
    [Show full text]
  • I Love Lucy, That Girl, and Changing Gender Norms on and Off Screen
    Oberlin Digital Commons at Oberlin Honors Papers Student Work 2018 I Love Lucy, That Girl, and Changing Gender Norms On and Off Screen Emilia Anne De Leo Oberlin College Follow this and additional works at: https://digitalcommons.oberlin.edu/honors Part of the History Commons Repository Citation De Leo, Emilia Anne, "I Love Lucy, That Girl, and Changing Gender Norms On and Off Screen" (2018). Honors Papers. 148. https://digitalcommons.oberlin.edu/honors/148 This Thesis is brought to you for free and open access by the Student Work at Digital Commons at Oberlin. It has been accepted for inclusion in Honors Papers by an authorized administrator of Digital Commons at Oberlin. For more information, please contact [email protected]. I Love Lucy, That Girl, and Changing Gender Norms On and Off Screen, 1951-71 Emilia Anne De Leo Candidate for Honors in History at OBerlin College Professor Clayton Koppes, Advisor Spring, 2018 2 Acknowledgements There are many people who have helped me immensely throughout the thesis writing process. I would like to thank my thesis advisor Professor Clayton Koppes for all the insight as well as moral support that he has provided me Both while writing this thesis and throughout my time here at OBerlin. I would also like to thank my thesis readers Professors Danielle Terrazas Williams and Shelley Lee for their comments on drafts. In addition, I want to thank the thesis seminar advisor Professor Leonard Smith for his assistance and for fostering a productive and kind environment in the thesis seminar. I owe many thanks to my fellow honors thesis colleagues as well.
    [Show full text]
  • Download Instructions on How to Hold an OEC Bottle and Can Drive
    Hold Your Own Bottle and Can Drive to Support OEC Thank you for being a Bottle Bonanza drive sponsor! Many of your friends and neighbors separate their NYS redeemable water/soda/beer cans and bottles and return them periodically to a store or redemption center for cash. Some can’t be bothered and simply discard them. Collecting these items and redeeming them makes them donors and you a fundraiser for Onondaga Earth Corps. Here are some steps to take to hold a successful bottle and can drive: 1. Decide when and where you want to hold your drive. Some people hold them in their neighborhood at their own house and ask their neighbors and friends to drop off their donations. Others choose to pick up the donations at the source. Decide what’s right for you! 2. Contact Pieter Keese to schedule your drive and arrange any support you might need. [email protected] 315-289-6776 (phone or text) When texting state your name and Bottle Bonanza intention. 3. Hand out flyers a week or two before the drive. Download the fillable PDF flyer at the Bottle Bonanza website and complete it with your drive information for distribution in your neighborhood. Use your social media savvy to alert your friends. 4. Hold your drive 5. Take your collection to the redemption center (list provided below). 6. Advise the redemption center that the proceeds are for Onondaga Earth Corps. Let them know if you have to make more than one trip and they will credit the account until you have completed your delivery.
    [Show full text]
  • Spring 2021 Mayberry Magazine
    Spring 2021 MayberryMAGAZINE Mayberry Man Andy Griffith Show Movie nearing release A star comes to visit Andy Finds Himself Mayberry Trivia College opened new Test your knowledge world What’s Happening? Comprehensive calendar ISSUE 30 Table of Contents Cover Story — Finally here? Despite the COVID-19 pandemic, work on the much ballyhooed Mayberry Man movie has continued, working around delays, postponements, and schedule changes. Now, the movie is just a few months away from release to its supporters, and hopefully, a public debut not too long afterward. Page 8 Andy finds himself He certainly wasn’t the first student to attend the University of North Carolina, nor the last, but Andy Griffith found an outlet for his creative talents at the venerable state institution, finding himself, and his career path, at the school. Page 4 Guest stars galore Being a guest star on “The Andy Griffith Show” could be a launching pad for young actors, and even already established stars sometimes wanted the chance to work with the cast and crew there. But it was Jean Hagen, driving a fast car and doing some smooth talking, who was the first established star to grace the set. Page 6 What To Do, What To Do… The pandemic put a halt to many shows and events over the course of 2020, but there might very well be a few concerts, shows, and events stirring in Mount Airy — the real-life Mayberry — this spring and summer. Page 10 SPRING 2021 SPRING So, You Think You Know • The Andy Griffith Show? Well, let’s see just how deep your knowledge runs.
    [Show full text]
  • The Musical Number and the Sitcom
    ECHO: a music-centered journal www.echo.ucla.edu Volume 5 Issue 1 (Spring 2003) It May Look Like a Living Room…: The Musical Number and the Sitcom By Robin Stilwell Georgetown University 1. They are images firmly established in the common television consciousness of most Americans: Lucy and Ethel stuffing chocolates in their mouths and clothing as they fall hopelessly behind at a confectionary conveyor belt, a sunburned Lucy trying to model a tweed suit, Lucy getting soused on Vitameatavegemin on live television—classic slapstick moments. But what was I Love Lucy about? It was about Lucy trying to “get in the show,” meaning her husband’s nightclub act in the first instance, and, in a pinch, anything else even remotely resembling show business. In The Dick Van Dyke Show, Rob Petrie is also in show business, and though his wife, Laura, shows no real desire to “get in the show,” Mary Tyler Moore is given ample opportunity to display her not-insignificant talent for singing and dancing—as are the other cast members—usually in the Petries’ living room. The idealized family home is transformed into, or rather revealed to be, a space of display and performance. 2. These shows, two of the most enduring situation comedies (“sitcoms”) in American television history, feature musical numbers in many episodes. The musical number in television situation comedy is a perhaps surprisingly prevalent phenomenon. In her introduction to genre studies, Jane Feuer uses the example of Indians in Westerns as the sort of surface element that might belong to a genre, even though not every example of the genre might exhibit that element: not every Western has Indians, but Indians are still paradigmatic of the genre (Feuer, “Genre Study” 139).
    [Show full text]
  • An Analysis of Hegemonic Social Structures in "Friends"
    "I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season.
    [Show full text]
  • 30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom
    30 Rock: Complexity, Metareferentiality and the Contemporary Quality Sitcom Katrin Horn When the sitcom 30 Rock first aired in 2006 on NBC, the odds were against a renewal for a second season. Not only was it pitched against another new show with the same “behind the scenes”-idea, namely the drama series Studio 60 on the Sunset Strip. 30 Rock’s often absurd storylines, obscure references, quick- witted dialogues, and fast-paced punch lines furthermore did not make for easy consumption, and thus the show failed to attract a sizeable amount of viewers. While Studio 60 on the Sunset Strip did not become an instant success either, it still did comparatively well in the Nielson ratings and had the additional advantage of being a drama series produced by a household name, Aaron Sorkin1 of The West Wing (NBC, 1999-2006) fame, at a time when high-quality prime-time drama shows were dominating fan and critical debates about TV. Still, in a rather surprising programming decision NBC cancelled the drama series, renewed the comedy instead and later incorporated 30 Rock into its Thursday night line-up2 called “Comedy Night Done Right.”3 Here the show has been aired between other single-camera-comedy shows which, like 30 Rock, 1 | Aaron Sorkin has aEntwurf short cameo in “Plan B” (S5E18), in which he meets Liz Lemon as they both apply for the same writing job: Liz: Do I know you? Aaron: You know my work. Walk with me. I’m Aaron Sorkin. The West Wing, A Few Good Men, The Social Network.
    [Show full text]
  • Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions
    Salve Regina University Digital Commons @ Salve Regina Pell Scholars and Senior Theses Salve's Dissertations and Theses 5-2010 Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions Stephanie Savage Salve Regina University, [email protected] Follow this and additional works at: https://digitalcommons.salve.edu/pell_theses Part of the Advertising and Promotion Management Commons, and the Marketing Commons Savage, Stephanie, "Junior Mints and Their Bigger Than Bite-Size Role in Complicating Product Placement Assumptions" (2010). Pell Scholars and Senior Theses. 54. https://digitalcommons.salve.edu/pell_theses/54 This Article is brought to you for free and open access by the Salve's Dissertations and Theses at Digital Commons @ Salve Regina. It has been accepted for inclusion in Pell Scholars and Senior Theses by an authorized administrator of Digital Commons @ Salve Regina. For more information, please contact [email protected]. Savage 1 “Who’s gonna turn down a Junior Mint? It’s chocolate, it’s peppermint ─it’s delicious!” While this may sound like your typical television commercial, you can thank Jerry Seinfeld and his butter fingers for what is actually one of the most renowned lines in television history. As part of a 1993 episode of Seinfeld , subsequently known as “The Junior Mint,” these infamous words have certainly gained a bit more attention than the show’s writers had originally bargained for. In fact, those of you who were annoyed by last year’s focus on a McDonald’s McFlurry on NBC’s 30 Rock may want to take up your beef with Seinfeld’s producers for supposedly showing marketers the way to the future ("Brand Practice: Product Integration Is as Old as Hollywood Itself").
    [Show full text]
  • Bonanza' Ranch Rides Into Pop Culture Sunset
    Powered by SAVE THIS | EMAIL THIS | Close 'Bonanza' ranch rides into pop culture sunset INCLINE VILLAGE, Nevada (Reuters) -- A great symbol of the rugged old West, or at least as it was portrayed by Hollywood, is riding off into the sunset. The Ponderosa Ranch, an American West theme park where the television show "Bonanza" was filmed, closed Sunday after its sale to a financier whose plans for the property are unclear. The show, which ran on NBC from 1959 to 1973, was the top-rated U.S. program in the mid-1960s. Before the park closed, it was easy with a little imagination to feel transported there to a time when the American West was still a place to be tamed. Wranglers and a Stetson were proper attire. A sign outside the Silver Dollar Saloon welcomed ladies and not just the ones who earn a living upstairs. Fans of the long-running "Bonanza," which still airs on cable television, may recall Little Joe and Hoss getting the horses ready while Ben Cartwright yells from his office to see if the boys were doing what they were told in the 1860s West. "The house is the part I recognize -- the fireplace, the dining room, his office, the kitchen," said Oliver Barmann, 38, from Hessen, Germany, who visited the 570-acre grounds a week before the Ponderosa Ranch closed. "It's a pity it is closing," he said as his wife, Silvia, nodded in agreement. The property with postcard views of Lake Tahoe along Nevada's border with California became a theme park in the late 1960s, after the color-filmed scenes of "Bonanza"-- a first for a Western TV show in its day -- became part of American television lore.
    [Show full text]
  • BONANZA G36 Specification and Description
    BONANZA G36 Specifi cation and Description E-4063 THRU E-4080 Contents THIS DOCUMENT IS PUBLISHED FOR THE PURPOSE 1. GENERAL DESCRIPTION ....................................2 OF PROVIDING GENERAL INFORMATION FOR THE 2. GENERAL ARRANGEMENT .................................3 EVALUATION OF THE DESIGN, PERFORMANCE AND EQUIPMENT OF THE BONANZA G36. IT IS NOT A 3. DESIGN WEIGHTS AND CAPACITIES ................4 CONTRACTUAL AGREEMENT UNLESS APPENDED 4. PERFORMANCE ..................................................4 TO AN AIRCRAFT PURCHASE AGREEMENT. 5. STRUCTURAL DESIGN CRITERIA ......................4 6. FUSELAGE ...........................................................4 7. WING .....................................................................5 8. EMPENNAGE .......................................................5 9. LANDING GEAR ...................................................5 10. POWERPLANT .....................................................5 11. PROPELLER .........................................................6 12. SYSTEMS .............................................................6 13. FLIGHT COMPARTMENT AND AVIONICS ...........7 14. INTERIOR ...........................................................12 15. EXTERIOR ..........................................................12 16. ADDITIONAL EQUIPMENT .................................12 17. EMERGENCY EQUIPMENT ...............................12 18. DOCUMENTATION & TECH PUBLICATIONS ....13 19. MAINTENANCE TRACKING PROGRAM ...........13 20. NEW AIRCRAFT LIMITED WARRANTY .............13
    [Show full text]
  • Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER
    Jae Blaze CREATIVE DIRECTOR/CHOREOGRAPHER ____________________________________________________________________________________________________ AWARDS/NOMINATIONS MTV Hip Hop Video - Black Eyed Peas “My Humps” MTV Best New Artist in a Vide - Sean Paul “Get Busy” (Nominee) TELEVISION/FILM King Of The Dancehall (Creative Director) Dir. Nick Cannon American Girl: Saige Paints The Sky Dir. Vince Marcello/Martin Chase Prod. American Girl: Alberta Dir. Vince Marcello Sparkle (Co-Chor.) Dir. Salim Akil En Vogue: An En Vogue Christmas Dir. Brian K. Roberts/Lifetime Tonight SHow w Gwen Stefani (Co-Chor.) NBC The X Factor (Associate Chor.) FOX Cheetah Girls 3: One World (Co-Chor.) Dir. Paul Hoen/Disney Channel Make It Happen (Co-Chor.) Dir. Darren Grant New York Minute Dir. D. Gorgon American Music Awards w/ Fergie (Artistic Director) ABC/Dick Clark Productions Divas Celebrate Soul (Co-Chor.) VH1 So You Think You Can Dance Canada Season 1-4 CTV Teen Choice Awards w/ Will.I.Am FOX American Idol w/ Jordin Sparks FOX American Idol w/ Will.I.Am FOX Superbowl XLV Halftime Show w/ Black Eyed Peas (Co-Chor.) FOX/NFL Soul Train Awards BET Idol Gives Back w/ Black Eyed Peas (Co-Chor.) FOX Grammy Awards w/ Black Eyed Peas (Co-Chor.) CBS / AEG Ehrlich Ventures NFL Thanksgiving Motown Tribute (Co-Chor.) CBS/NFL American Music Awards w/ Black Eyed Peas (Co-Chor.) ABC/Dick Clark Productions BET Hip Hop Awards (Co-Chor.) BET NFL Kickoff Concert w/ Black Eyed Peas (Co-Chor.) NFL Oprah w/ Black Eyed Peas (Co-Chor.) ABC/Harpo Teen Choice Awards w/ Black Eyed Peas
    [Show full text]
  • Using Artistic Markers and Speaker Identification for Narrative-Theme
    Using Artistic Markers and Speaker Identification for Narrative-Theme Navigation of Seinfeld Episodes Gerald Friedland, Luke Gottlieb, and Adam Janin International Computer Science Institute 1947 Center Street, Suite 600 Berkeley, CA 94704-1198 [fractor|luke|janin]@icsi.berkeley.edu Abstract ysis, thus completely ignoring the rich information within the video/audio medium. Even portable devices such as This article describes a system to navigate Seinfeld smartphones are sufficiently powerful for more intelligent episodes based on acoustic event detection and speaker browsing than play/pause/rewind. identification of the audio track and subsequent inference of In the following article, we present a system that ex- narrative themes based on genre-specific production rules. tends typical navigation features significantly. Based on the The system distinguishes laughter, music, and other noise idea that TV shows are already conceptually segmented by as well as speech segments. Speech segments are then iden- their producers into narrative themes (such as scenes and tified against pre-trained speaker models. Given this seg- dialog segments), we present a system that analyzes these mentation and the artistic production rules that underlie “markers” to present an advanced “narrative-theme” navi- the “situation comedy” genre and Seinfeld in particular, gation interface. We chose to stick to a particular exam- the system enables a user to browse an episode by scene, ple presented in the description of the ACM Multimedia punchline, and dialog segments. The themes can be filtered Grand Challenge [1] ; namely, the segmentation of Seinfeld by the main actors, e.g. the user can choose to see only episodes 2.
    [Show full text]