2024: the Future of TV
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Camille Paglia's Androgyny Aesthetics
Camille Paglia’s Androgyny Aesthetics - Why Italian Americans Love the Sopranos Published on iItaly.org (http://www.iitaly.org) Camille Paglia’s Androgyny Aesthetics - Why Italian Americans Love the Sopranos Tom Verso (June 15, 2009) “Bourgeois English department feminist promoting cancellation of male concentration and projection cut no ice at the corner garage…on the streets…” - or with Soprano fans. In 1991 Camille Paglia published “Sexual Personae”, which is essentially her Yale dissertation done Page 1 of 7 Camille Paglia’s Androgyny Aesthetics - Why Italian Americans Love the Sopranos Published on iItaly.org (http://www.iitaly.org) under the aegis of the eminent scholar Harold Bloom. The book, in her words: “…surveys literature and art from antiquity to the end of the nineteenth century.” “Sexual Personae”, while not written in the typical academic style, is a scholarly work combining a thesis substantiated with factually documented research. Specifically, her thesis is “to demonstrate the unity and continuity of western culture”, for which she provides voluminous supporting data and interpretations. For example, ‘androgyny’ is one of many features appearing throughout the history of Western art and literature, thereby giving “unity and continuity” to Western culture. Art, Culture & Social Science Paglia is not simply an art historian and commentator. She is a philosopher and social scientist. In the manner of science: based on observable detailed descriptions of art, she makes logical inferences about the culture (social values) of the art producing society. Art forms are not seen solely as aesthetic values. Art is also seen as a manifestation of social values. From observable aesthetic characteristics, inferences are made about the subliminal (non- observable) social values. -
GORDON RAMSAY's POLITENESS STRATEGIES in MASTERCHEF and MASTERCHEF JUNIOR US Annisa Friska Safa Eri Kurniawan Departemen Bahas
Annisa Friska Safa & Eri Kurniawan, Gordon Ramsay’s Politeness Strategies GORDON RAMSAY’S POLITENESS STRATEGIES IN MASTERCHEF AND MASTERCHEF JUNIOR US Annisa Friska Safa Eri Kurniawan Departemen Bahasa dan Sastra Inggris FPBS UPI Address: Jl. Dr. Setiabudhi 229 Bandung 40154 E-mail: [email protected] Abstract This research aims to investigate the types of politeness strategies that are performed by Gordon Ramsay in judging the Masterchef US and Masterchef Junior US contestants’ dishes and to reveal whether Gordon Ramsay performs any different politeness strategies between the Master chef and Masterchef Junior contestants. The data spring from Gordon Ramsay utterances, taken from the elimination test of two episodes of Masterchef season 4 (episode 9 and 12) and the elimination test of two episodes of Masterchef Junior US season 1 (episode 2 and 6). The framework of Brown & Levinson’s (1987) politeness strategies is adopted. Findings reveal that Gordon Ramsay performed bald on-record strategy, positive politeness, and off record strategy. Furthermore, Ramsay performed diferent varieties of politeness strategies in Masterchef; and performed only positive politeness strategy in Masterchef Junior. Keywords: politeness strategies, masterchef, masterchef junior, Gordon Ramsay Abstrak Penelitian ini bertujuan untuk menyelidiki tipe strategi kesopanan yang dilakukan oleh Gordon Ramsay saat menilai masakan dari kontestan Masterchefdan Masterchef Junior US dan untuk mengungkapkan adakah perbedaan strategi kesopanan yang dilakukan Gordon Ramsay kepada kontestan Masterchef US dan Masterchef Junior US. Data penelitian ini berupa tuturan Gordon Ramsay yang diambil dari tes eliminasi dalam dua episode Masterchef US musim ke-4 (episode 9 dan 12), dan dua episode Masterchef Junior US musim pertama (episode 2 dan 6). -
Media Nations 2019
Media nations: UK 2019 Published 7 August 2019 Overview This is Ofcom’s second annual Media Nations report. It reviews key trends in the television and online video sectors as well as the radio and other audio sectors. Accompanying this narrative report is an interactive report which includes an extensive range of data. There are also separate reports for Northern Ireland, Scotland and Wales. The Media Nations report is a reference publication for industry, policy makers, academics and consumers. This year’s publication is particularly important as it provides evidence to inform discussions around the future of public service broadcasting, supporting the nationwide forum which Ofcom launched in July 2019: Small Screen: Big Debate. We publish this report to support our regulatory goal to research markets and to remain at the forefront of technological understanding. It addresses the requirement to undertake and make public our consumer research (as set out in Sections 14 and 15 of the Communications Act 2003). It also meets the requirements on Ofcom under Section 358 of the Communications Act 2003 to publish an annual factual and statistical report on the TV and radio sector. This year we have structured the findings into four chapters. • The total video chapter looks at trends across all types of video including traditional broadcast TV, video-on-demand services and online video. • In the second chapter, we take a deeper look at public service broadcasting and some wider aspects of broadcast TV. • The third chapter is about online video. This is where we examine in greater depth subscription video on demand and YouTube. -
Or, Read the PDF Version of the Spring 2013 Magazine
Spring 2013 Golden moments at the Minster University marks its 50th Anniversary THROUGH THE STAINED GLASS: CAPTURING THE WONDER OF RESTORATION EXHIBITION UNLOCKS MYSTERIES OF STONE AGE HOUSE PROTECTING THE CHAMPIONS OF CHANGE 15 magazine CONTENTS Spring 2013 Produced by Communications Office Spotlight University of York Heslington York YO10 5DD A Stone Age house unlocked 15 Telephone: +44 (0)1904 322622 Protecting the champions 16 Director of External Relations of change Joan Concannon Restoring a national treasure 18 Editor Jilly Lovett Assistant Editor Alice Jenkins Editorial team Exhibition to showcase Star Carr David Garner, Suzy Harrison, William Haydon and Sheila Perry 9 Photography Suzy Harrison Copy deadlines www.york.ac.uk/magazine Email 18 [email protected] Working to restore the Great East Window in The Communications Office reserves the right to edit York Minster submissions Design The Studio Mystery ring sheds light on York’s past University of York Telephone: +44 (0)1904 328414 www.studio.crevado.com University highlights 16 Printed by University marks 50th 3 Wyke Printers, Hull Anniversary celebrations The University of York Magazine ©University of York. If you require this publication in an January graduation ceremonies 7 alternative format visit www. york.ac.uk/magazine York Concerts 8 York in pictures Life and work at York 11 In memoriam 21 University news At the chalk face 22 8 Karak Denyok, one of York’s human rights defenders Alan Ayckbourn in the audience the university of york magazine 50TH ANNIVERSARY 3 York Minster launch for 50th Anniversary The University of York returned to the scene of its inauguration at York Minster for a 50th Anniversary celebration which proved an inspirational start to a year-long calendar of Anniversary events. -
BBC AR Front Part 2 Pp 8-19
Executive Committee Greg Dyke Director-General since Jana Bennett OBE Director of Mark Byford Director of World customer services and audience January 2000, having joined the BBC Television since April 2002. Service & Global News since research activities. Previously as D-G Designate in November Responsible for the BBC’s output October 2001. Responsible for all European Director for Unilever’s 1999. Previously Chairman and Chief on BBC One, BBC Two, BBC Three the BBC’s international news and Food and Beverages division. Former Executive of Pearson Television from and BBC Four and for overseeing information services across all media positions include UK Marketing 1995 to 1999. Former posts include content on the UKTV joint venture including BBC World Service radio, Director then European Marketing Editor in Chief of TV-am (1983); channels and the international BBC World television and the Director with Unilever’s UK Food Director of Programmes for TVS channels BBC America and BBC international-facing online news and Beverages division and (1984), and Director of Programmes Prime. Previously General Manager sites. Previously Director of Regional Chairman of the Tea Council. (1987), Managing Director (1990) and Executive Vice President at Broadcasting. Former positions and Group Chief Executive (1991) at Discovery Communications Inc. include Head of Centre, Leeds and Carolyn Fairbairn Director of London Weekend Television. He has in the US. Former positions include Home Editor Television News. Strategy & Distribution since April also been Chairman of Channel 5; Director of Production at BBC; Head 2001. Responsible for strategic Chairman of the ITA; a director of BBC Science; Editor of Horizon, Stephen Dando Director of planning and the distribution of BBC of ITN, Channel 4 and BSkyB, and and Senior Producer on Newsnight Human Resources & Internal services. -
Which of the Three Options Do Consultees Favour, and Why?
Question 1: Which of the three options do consultees favour, and why?: Option 2 - an increase to 20% audio description on all channels. Question 2: Do consultees have any further suggestions for future access service provision? If so please provide the rationale for these suggestions: As a blind person who enjoys audio description at home, I have three key suggestions: 1: movies -- films and longform drama are probably the most difficult genres to follow as they are least likely to have a running spoken narrative. News and documentaries tend to be easier to follow by dint of an accompanying voiceover, providing a clearer audio narrative which holds the hand of the non-sighted viewer from start to end. Films - with their noisy car chases, long periods of silence, smoldering looks between characters and expensively shot very visual sequences - tend to have been crafted by the director to minimise dialogue and to play the narrative out more effectively with images. They have the budget to do so and they do it. It appeals to a wider audience and, as such, tends to be economical with words. I'd like to suggest that channels which show movies and drama as a big part of their output - Sky Movies, FilmFour, ITV3, Virgin One, Sky One FX for example - ought to weight their AD towards this. I'd like to suggest 20% of all programmes be described ... but 75% of all movies with broadcast start times between 5pm and 10pm . They can make up a big part of a broadcaster's evening schedule and as such greater provision should be made. -
2 a Quotation of Normality – the Family Myth 3 'C'mon Mum, Monday
Notes 2 A Quotation of Normality – The Family Myth 1 . A less obvious antecedent that The Simpsons benefitted directly and indirectly from was Hanna-Barbera’s Wait ‘til Your Father Gets Home (NBC 1972–1974). This was an attempt to exploit the ratings successes of Norman Lear’s stable of grittier 1970s’ US sitcoms, but as a stepping stone it is entirely noteworthy through its prioritisation of the suburban narrative over the fantastical (i.e., shows like The Flintstones , The Jetsons et al.). 2 . Nelvana was renowned for producing well-regarded production-line chil- dren’s animation throughout the 1980s. It was extended from the 1960s studio Laff-Arts, and formed in 1971 by Michael Hirsh, Patrick Loubert and Clive Smith. Its success was built on a portfolio of highly commercial TV animated work that did not conform to a ‘house-style’ and allowed for more creative practice in television and feature projects (Mazurkewich, 1999, pp. 104–115). 3 . The NBC US version recast Feeble with the voice of The Simpsons regular Hank Azaria, and the emphasis shifted to an American living in England. The show was pulled off the schedules after only three episodes for failing to connect with audiences (Bermam, 1999, para 3). 4 . Aardman’s Lab Animals (2002), planned originally for ITV, sought to make an ironic juxtaposition between the mistreatment of animals as material for scientific experiment and the direct commentary from the animals them- selves, which defines the show. It was quickly assessed as unsuitable for the family slot that it was intended for (Lane, 2003 p. -
ITV Plc Final Results 2007
ITV plc Final Results 2007 5th March 2008 1 Introduction Michael Grade Executive Chairman 2 Agenda Introduction Financial and operating review Current trading and strategy update 3 Overview 2007 financial results Total revenue £2,082m (2006: £2,181m) Operating EBITA £311m (2006: £375m) Impacted by legacy issues and digital investment 2007 operational and strategic progress ITV viewing increased year-on-year for first time in over a decade ITV NAR stabilised at £1,489m (2006: £1,494m) Strengthened management team appointed Strategic plan and targets announced 2008 current trading ITV outperforming market in revenues and ratings Î Turnaround plan on track 4 Board and management changes Executive Chairman term extended to four years and end of 2010 John Cresswell becomes dedicated COO, with new FD to be appointed Dawn Airey and Rupert Howell join plc Board Peter Fincham to join as ITV Director of Television 5 Financial and operating review John Cresswell Chief Operating Officer 6 Final Results 12 months to 31st Dec - £m 2007 2006 Change Published Published % Revenue 2,082 2,181 (5) Operating EBITA 311 375 (17) Amortisation Normal (56) (56) CSA Impairment (28) (20) Exceptional items inc gains on sales (9) 4 Associates, JVs and investment income 3 11 Profit before interest and tax 221 314 (30) Interest (33) (26) 27 Profit before tax 188 288 (35) 7 Final Results 12 months to 31st Dec - £m 2007 2006 Change Published Published % Profit before tax 188 288 (35) Tax (50) (66) (24) Profit after tax 138 222 (38) Minority interests (1) -
From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (Eds.)
From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (eds.) RIPE @ 2007 NORDICOM From Public Service Broadcasting to Public Service Media From Public Service Broadcasting to Public Service Media Gregory Ferrell Lowe & Jo Bardoel (eds.) NORDICOM From Public Service Broadcasting to Public Service Media RIPE@2007 Gregory Ferrell Lowe & Jo Bardoel (eds.) © Editorial matters and selections, the editors; articles, individual con- tributors; Nordicom ISBN 978-91-89471-53-5 Published by: Nordicom Göteborg University Box 713 SE 405 30 GÖTEBORG Sweden Cover by: Roger Palmqvist Cover photo by: Arja Lento Printed by: Livréna AB, Kungälv, Sweden, 2007 Environmental certification according to ISO 14001 Contents Preface 7 Jo Bardoel and Gregory Ferrell Lowe From Public Service Broadcasting to Public Service Media. The Core Challenge 9 PSM platforms: POLICY & strategY Karol Jakubowicz Public Service Broadcasting in the 21st Century. What Chance for a New Beginning? 29 Hallvard Moe Commercial Services, Enclosure and Legitimacy. Comparing Contexts and Strategies for PSM Funding and Development 51 Andra Leurdijk Public Service Media Dilemmas and Regulation in a Converging Media Landscape 71 Steven Barnett Can the Public Service Broadcaster Survive? Renewal and Compromise in the New BBC Charter 87 Richard van der Wurff Focus on Audiences. Public Service Media in the Market Place 105 Teemu Palokangas The Public Service Entertainment Mission. From Historic Periphery to Contemporary Core 119 PSM PROGRAMMES: strategY & tacticS Yngvar Kjus Ideals and Complications in Audience Participation for PSM. Open Up or Hold Back? 135 Brian McNair Current Affairs in British Public Service Broadcasting. Challenges and Opportunities 151 Irene Costera Meijer ‘Checking, Snacking and Bodysnatching’. -
France's Banijay Group Buys Endemol Shine to Create European Production Giant
Publication date: 28 Oct 2019 Author: Tim Westcott Director, Research and Analysis, Programming France's Banijay Group buys Endemol Shine to create European production giant Brought to you by Informa Tech France's Banijay Group buys Endemol Shine to 1 create European production giant France-based production company Banijay Group has reached agreement to acquire Endemol Shine Group from Walt Disney Company and US hedge fund Apollo Global Management. The price for the deal was not disclosed but is widely reported to be $2.2 billion. A statement from the group said the deal will be financed through a capital increase of Banijay Group and debt. On closure, subject to regulatory clearances and employee consultations. Post-closing, the combined group will be majority owned (67.1%) by LDH, the holding company controlled by Stephane Courbit's LOV Group, and Vivendi (32.9%), which invested in Banijay in 2014. The merged group said it will own almost 200 production companies in 23 territories and the rights for close to 100,000 hours of content, adding that total pro-forma revenue of the combined group is expected to be €3 billion ($3.3 billion) this year. Endemol Shine Group is jointly owned by Disney, which acquired its 50% stake as part of its acquisition of 21st Century Fox last year, and funds managed by affiliates of Apollo Global Management. Endemol Shine has 120 production labels and owns 66,000 hours of scripted and non- scripted programming and over 4,300 registered formats. Our analysis Endemol Shine Group has been up for sale since last year, and Banijay Group appears to be have been the only potential buyer to have made an offer, despite reported interest from All3Media, RTL Group-owned Fremantle and others. -
What Is Bbc Three?
We tested the public value of the proposed changes using a combination of quantitative and qualitative methodologies Quantitative methodology Qualitative methodology We ran a 15 minute online survey with 3,281 respondents to We conducted 20 x 2 hour ‘Extended Group’ sessions via Zoom with understand current associations with BBC Three, the appeal of BBC a mix of different audiences to explore and compare reactions, Three launching as a linear channel, and how this might impact from a personal and societal value perspective, to the concept of existing services in the market. BBC Three becoming a linear channel again. In the survey, we explored the following: In the sessions, we explored the following: - Demographics and brand favourability - Linear TV consumption and BBC attitudes - Current TV and video consumption - (S)VOD consumption behaviours, with a focus on BBC Three - BBC Three awareness, usage and perceptions (current) - A BBC Three content evaluation (via BBC Three on iPlayer exploration) - Likelihood of watching new TV channel and perceptions - Responses to the proposal of BBC Three becoming a TV channel - Impact on services currently used (including time taken away from each) - Expected personal and societal impact of the proposed changes - Societal impact of BBC Three launching as a TV channel - Evaluation of proposed changes against BBC Public Purposes 4 The qualitative stage involved 20 x 2-hour extended digital group discussions across the UK with a carefully designed sample 20 x 2 hour Extended Zoom Groups The qualitative -
Title of Thesis Or Dissertation, Worded Exactly As It Appears on Your Abstract
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Oregon Scholars' Bank (IN)FAMOUS ANGEL: THE CHERUB COMPANY AND THE PROBLEM OF DEFINITION by BRIAN EDWARD GEORGE COOK A DISSERTATION Presented to the Department of Theater Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2012 DISSERTATION APPROVAL PAGE Student: Brian Edward George Cook Title: (In)famous Angel: The Cherub Company and the Problem of Definition This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theater Arts by: Dr. Sara Freeman Chairperson Dr. Theresa J. May Member Dr. John Schmor Member Dr. Julie Hessler Outside Member and Kimberly Andrews Espy Vice President for Research & Innovation/Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2012 ii © 2012 Brian Edward George Cook iii DISSERTATION ABSTRACT Brian Edward George Cook Doctor of Philosophy Department of Theater Arts June 2012 Title: (In)famous Angel: The Cherub Company and the Problem of Definition This dissertation examines the effects of conventionally categorizing working artists and looks specifically at the Cherub Company, London, as a case study. Cherub was an alternative British theatre company whose work in the 1980s defied most of the categories which inscribed theatre practice in Britain. Because they did not fit canonical definitions, Cherub was said to be producing “bad” theatre.