Art Direction INDUSTRY EXPERIENCE
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Technical Constraints and TV Series As the Main Narrative Genre of the Audiovisual Era
Comparatismi 3 2018 ISSN 2531-7547 http://dx.doi.org/10.14672/20181442 Technical Constraints and TV Series as the Main Narrative Genre of the Audiovisual Era Carlotta Susca Abstract • By enlarging the concept of literariness to the concept of narrativity, it is possible to look at narrative genres instead than literary genres. Major changes in the creation of stories have always been depending on technical constraints: epic was the main poetic genre of orality, novel the main literary genre fostered by literacy, and TV series are the main audiovisual genre. TV series are composed by a superimposition of semiotic levels (images, sounds, and texts); accordingly, they require a competent audience that is committed to a united hermeneutic effort. Twin Peaks, the TV series created by David Lynch and Mark Frost, is a complex narrative enthusiastically analyzed by an active fan base on online forums. Keywords • TV Series; Narrative Genres; Twin Peaks Technical Constraints and TV Series as the Main Narrative Genre of the Audiovisual Era Carlotta Susca 1. Literariness and Narrativity By the 1920s, both Roman Jakobson and Viktor Šklovskij proposed the concepts of literariness and the poetic function of language, which characterized poetic texts among other forms of verbal communication. According to the definition of literariness, every text—not only a work of art—could possess it, as long as it’s defamiliarized to some degree. The contemporary concept of narrativity allows a further enlargement of the poetic field to messages elaborated on and transmitted by media other than paper or electronic texts, and not entirely made of words, so gaining audiovisual narratives full citizenship of poetic creation. -
Tv Land Adds More Stars to Its Stunning Talent Roster As Two New Pilots Finalize Casting
TV LAND ADDS MORE STARS TO ITS STUNNING TALENT ROSTER AS TWO NEW PILOTS FINALIZE CASTING Elliott Gould And Missi Pyle Join Ben Falcone, Jay Mohr, Josh Cooke, Ellen Woglom, Geoff Pierson And Kelen Coleman In Multi- And Single-Camera Pilots For The Network August 23, 2012 – Los Angeles, CA – Elliott Gould (“Friends”) and Missi Pyle (“The Artist”) have joined previously reported stars Ben Falcone, Jay Mohr, Josh Cooke, Ellen Woglom, Geoff Pierson and Kelen Coleman in TV Land’s two new pilots, it was announced today by Keith Cox, Executive Vice President, Development and Original Programming for TV Land. Falcone (“Bridesmaids”) will play the lead in “I’m Not Dead Yet” (working title) as Sandy Lazarus, a driving instructor who, after learning he has a potentially fatal heart condition, decides to start speaking his mind and grab life by the horns. This personality change is greeted by shock and skepticism from his wife (Pyle), father (Gould) and children. “I’m Not Dead Yet” will shoot in September. TV Land’s second pilot, “Brothers-in-Law” (working title), will star Mohr (“Last Comic Standing”), Cooke (“Better With You”), Woglom (“Outlaw”) Pierson (“24”) and Coleman (“The Newsroom”). The pilot focuses on the family dynamic between Neil (Cooke) and his wife Cheska (Coleman) as they adjust to Van (Mohr), the eccentric fiancé of Cheska’s twin sister Maddie (Woglom). Pierson stars as Tom, the family patriarch, whose instant bond with Van makes Neil jealous and annoyed. On top of that, the sisters constantly encourage Neil and Van to form a friendship, even though the men have absolutely nothing in common. -
Annual Report
ANNUAL REPORT 2013 Archive Name ATAS14_Corp_140003273 MECH SIZE 100% PRINT SIZE Description ATAS Annual Report 2014 Bleed: 8.625” x 11.1875” Bleed: 8.625” x 11.1875” Posting Date May 2014 Trim: 8.375” x 10.875” Trim: 8.375” x 10.875” Unit # Live: 7.5” x 10” LIve: 7.5” x 10” message from THE CHAIRMAN AND CHIEF EXECUTIVE OFFICER At the end of 2013, as I reflected on my first term as Television Academy chairman and prepared to begin my second, it was hard to believe that two years had passed. It seemed more like two months. At times, even two weeks. Why? Because even though I have worked in TV for more than three decades, I have never seen our industry undergo such extraordinary — and extraordinarily exciting — changes as it has in recent years. Everywhere you turn, the vanguard is disrupting the old guard with an astonishing new technology, an amazing new show, an inspired new way to structure a business deal. This is not to imply that the more established segments of our industry have been pushed aside. On the contrary, the broadcast and cable networks continue to produce terrific work that is heralded by critics and rewarded each year at the Emmys. And broadcast networks still command the largest viewing audience across all of their platforms. With our medium thriving as never before, this is a great time to work in television, and a great time to be part of the Television Academy. Consider the 65th Emmy Awards. The CBS telecast, hosted by the always-entertaining Neil Patrick Harris, drew our largest audience since 2005. -
The Complexities of Latina Sexuality on Ugly Betty Tanya González
IS UGLY THE NEW SEXY? The Complexities of Latina Sexuality on Ugly Betty Tanya González ABC’s Emmy and Golden Globe winning television show Ugly Betty stars America Ferrera as Betty Suarez, an intelligent Mexican American executive assistant who lives in Queens, New York, but works at Mode in Manhattan. An adaptation from the Colombian telenovela,Yo soy, Betty la fea, this television show works on a fairy tale premise: the ugly protagonist with a heart of gold will eventually obtain happiness by virtue of her goodness. However, Ugly Betty offers a protagonist with multiple love interests, constantly involving her in a variety of love triangles, begging the question, “Is ugly the new sexy?” The following analysis of Betty as a sexual subject demonstrates that Ugly Betty, within the limits of Hollywood representation, offers complex subjects instead of one-dimensional types. The show’s use of a Latino camp aesthetic continually introduces elements, like Betty’s sexuality, that push the limits of how we perceive Latinas/os on television and in everyday life. As a result, Ugly Betty surprisingly illustrates Chicana/o and Latina/o feminist theories about identity construction. ABC’s Emmy and Golden Globe winning television show Ugly Betty is a global iteration of the Colombian telenovela1 phenomenon Yo soy, Betty la fea (1999-2001). Ugly Betty, which premiered Fall 2006 and will end Spring 2010, stars America Ferrera as Betty Suarez, an intelligent, sweet, perky young Latina2 who lives in Queens, but works at Mode, a fictional representation of Vogue magazine. As the title suggests, people perceive Betty as ugly because she is not model-skinny; wears glasses, braces, and bangs; and has poor fashion sense. -
Conversations with Mark Frost: Twin Peaks, Hill Street
Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer by , Download PDF Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer Online, Download PDF Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, Full PDF Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, All Ebook Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, PDF and EPUB Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, PDF ePub Mobi Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, Reading PDF Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, Book PDF Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, Download online Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer pdf, by Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, book pdf Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, by pdf Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, epub Conversations With Mark Frost: Twin Peaks, Hill Street Blues, and the Education of a Writer, pdf Conversations -
The Twin Peaks Fandom on the Net – 30 Years of Activity and Counting
1 The Twin Peaks Fandom on the Net – 30 Years of Activity and Counting 2.6.2021 Samantha Martinez Ziegler samazi[a]utu.fi Digital Culture University of Turku The Twin Peaks fandom on the net has had a lifespan of over 30 years since the cult series began airing on U.S. television in the year 1990. Up to the present time, fandom culture has evolved, and the Twin Peaks community as well. The focus of this essay is to explore the history of the Twin Peaks fandom from its origins on the Usenet newsgroup alt.tv.twin-peak in the early 1990s all the way to its move to LiveJournal, social media, and the hybrid platform Reddit in the 21st century. In my text, I also highlight how the unsolved mysteries and recurrent riddles of the Twin Peaks television series and Twin Peaks-related media have been instrumental to the ongoing activity of the fandom. Lastly, I consider what the longevity and adaptability of the Twin Peaks fandom on the net mean in terms of fandom culture and the foreseeable future of fandom. This essay was written in the spring of 2020 for that semester’s Academic Writing and Digital Culture class but was revisited and last modified in May 2021 prior to its publication in the journal. Introduction “This has to have been one of the best shows ever”, a user posted on a thread on alt.tv.twin- peak, a Usenet newsgroup active in the early 1990s mainly dedicated to discussing and interpreting the American TV series Twin Peaks among its fans. -
John Bissell Music Supervisor
JOHN BISSELL MUSIC SUPERVISOR FEATURE FILM UNBRANDED (Documentary) Dennis Aig, prod. Cedar Creek Productions Phillip Baribeau, dir. FALLEN Mark Ciardi, Gordon Gray, Bill Johnson, prods. Mayhem Pictures Scott Hicks, dir. THE FORGER Al Corley, Bart Rosenblatt, Eugene Musso, Code Entertainment Rob Carliner, prods. Philip Martin, dir. UNBRANDED Dennis Aig, prod. Cedar Creek Productions Phillip Baribeau, dir. ZERO DARK THIRTY Colin Wilson, Greg Shapiro, prods. Zero Dark Thirty Productions Kathryn Bigelow, dir. THE COMPANY YOU KEEP Bill Holderman, Nicholas Chartier, prods. Voltage Pictures Robert Redford, dir. THE LUCKY ONE Denise DeNovi, prod. Riverboat Productions, LLC Scott Hicks, dir. A VERY HAROLD AND KUMAR Greg Shapiro, prod. CHRISTMAS Todd Strauss-Schulson, dir. Mandate Pictures THE CONSPIRATOR Jeremiah Samuels, exec. prod. American Film Company Greg Shapiro, prod. *Music Consultant Robert Redford, dir. SHREK FOREVER AFTER Andrew Adamson, Paramount Aron Warner, exec. prods. *Music Consultant Mike Mitchell, dir. THE IRISHMAN Al Corley, Bart Rosenblatt, prods. Code Entertainment Jonathan Hensleigh, dir. STOLEN Anders Anderson, Al Corley, Josh Lucas, 2 Bridges Productions Devin Maurer, Bart Rosenblatt, Andy Steinman, prods. Anders Anderson, dir. BABY ON BOARD Emilio Ferrari, prod. A Plus Entertainment Brian Herzlinger, dir. The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 JOHN BISSELL MUSIC SUPERVISOR THE HURT LOCKER Greg Shapiro, Kathryn Bigelow, prods. First Light Productions Kathryn Bigelow, dir. BALLAST Andrew Adamson, Mark Johnson, IFC Films Lance Hammer, prods. Lance Hammer, dir. NO RESERVATIONS Sergio Aguero, Kerry Heysen, Castle Rock Entertainment / Bruce Berman, prods. Warner Brothers Pictures Scott Hicks, dir. YOU KILL ME Carol Baum, Mike Markus, IFC Films Bart Rosenblatt, prods. John Dahl, dir. -
Twin Peaks at Twenty-Five
IN FOCUS: Returning to the Red Room—Twin Peaks at Twenty-Five Foreword by DAVID LAVERY or Twin Peaks (ABC, 1990–1991), 2015 was a damn fine year. The last annum has seen the completion of a new collection of critical essays ( Jeffrey Weinstock and Catherine Spooner’s Return to “Twin Peaks”: New Approaches to Theory & Genre in Television), an international conference in the United Kingdom (“ ‛I’ll See You Again Fin 25 Years’: The Return of Twin Peaks and Generations of Cult TV” at the University of Salford), and the current In Focus.1 Not coincidently, this has transpired alongside the commissioning of the return of the series on the American premium cable channel Showtime for a 2017 debut. Long before this Twin Peaks renaissance, the place of David Lynch and Mark Frost’s “quirky quality” series in TV history was, however, already secure.2 As the creator of the iconic series Mad Men, Matthew Weiner, now fifty years old, put it definitively: “I was already out of college when Twin Peaks came on, and that was where I became aware of what was possible on television.”3 Twin Peaks has played a central role as well in our understanding of what is possible in television studies. As I have written and spoken about elsewhere, the collection Full of Secrets: Critical Approaches to “Twin 1 See Jeffrey Weinstock and Catherine Spooner, eds., Return to “Twin Peaks”: New Approaches to Materiality, Theory, and Genre on Television (Basingstoke, UK: Palgrave Macmillan, 2015). For a review of the conference, see Ross Garner, “Conference Review: “‘I’ll See You Again in 25 Years’: The Return of Twin Peaks and Generations of Cult TV”: University of Salford, 21–22 May 2015,” Critical Studies in Television Online, June 5, 2015, http://cstonline.tv/twin-peaks. -
Monday Tuesday Wednesday Thursday Friday
As of 02/04/2019 MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY Feb 25 Feb 26 Feb 27 Feb 28 Mar 01 Mar 02 Mar 03 6:00 Overheard with Great Decisions To The Contrary Story in the Public Gzero World with Second Opinion On Story #904 #1005 with Bonnie Erbe Square Ian Bremmer #1108 #809 Andrew Bujalski, Out of Balance: #2751 #208 #121 Food As Medicine A Conversation 6:30 OpenWriter/Director Mind AsiaTrading Insight with Scully/The World SecondAlice Robb Opinion Closer to Truth Consuelo Mack Towith The Mark Contrary Frost #3928 #632 Show #1108 #1903 WealthTrack with Bonnie Erbe Showdown 2020 #2108 Food As Medicine What's Fine - #1537 #2752 7:00 Newsroom Tokyo Newsroom Tokyo Newsroom Tokyo Newsroom Tokyo NewsroomTuning In Tokyo To The Contrary Washington Week #869 #870 #871 #872 with Bonnie Erbe #5835 #2752 7:30 Washington Week Open Mind #5835 #3928 Showdown 2020 8:00 Nature The Talk - Race In America Independent Lens Nova Independent Lens Focus On Europe #3611 America ReFramed #2012 #4312 #1912 #3709 Living Volcanoes #705 People's Republic Great Human Dolores 8:30 Late Blossom of Desire Odyssey Global 3000 Blues #1109 9:00 Finding Your America Roots ReFramed #507 #705 9:30 No Laughing Independent Lens Independent Lens Late Blossom Matter #1919 #1919 Blues True Conviction True Conviction 10:00 Charley Pride: Local USA Secrets of the Penny: Champion American Masters #315 Dead of the #3007 '63 Boycott #1601 Marginalized 10:30 Stories from the After Stonehenge Finding Refuge Our American Stage Family: The Clarks #211 11:00 In Tune: The -
Applying a Rhizomatic Lens to Television Genres
A THOUSAND TV SHOWS: APPLYING A RHIZOMATIC LENS TO TELEVISION GENRES _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by NETTIE BROCK Dr. Ben Warner, Dissertation Supervisor May 2018 The undersigned, appointed by the dean of the Graduate School, have examined the Dissertation entitled A Thousand TV Shows: Applying A Rhizomatic Lens To Television Genres presented by Nettie Brock A candidate for the degree of Doctor of Philosophy And hereby certify that, in their opinion, it is worthy of acceptance. ________________________________________________________ Ben Warner ________________________________________________________ Elizabeth Behm-Morawitz ________________________________________________________ Stephen Klien ________________________________________________________ Cristina Mislan ________________________________________________________ Julie Elman ACKNOWLEDGEMENTS Someone recently asked me what High School Nettie would think about having written a 300+ page document about television shows. I responded quite honestly: “High School Nettie wouldn’t have been surprised. She knew where we were heading.” She absolutely did. I have always been pretty sure I would end up with an advanced degree and I have always known what that would involve. The only question was one of how I was going to get here, but my favorite thing has always been watching television and movies. Once I learned that a job existed where I could watch television and, more or less, get paid for it, I threw myself wholeheartedly into pursuing that job. I get to watch television and talk to other people about it. That’s simply heaven for me. A lot of people helped me get here. -
JENNIFER REEVE Music Supervisor *, Musicologist + Clearance** & Music Coordinator Credits
JENNIFER REEVE Music Supervisor *, Musicologist + Clearance** & Music Coordinator Credits TELEVISION: TIMELESS * Studio: NBC Producers: Shawn Ryan, Eric Kripke, Neil Marshall WESTWORLD * Studio: HBO Producers: J.J. Abrams, Bryan Burk, Jonathan Nolan S.W.A.T. * Studio: CBS Producers: Shawn Ryan, Aaron Rahsaan Thomas, Nicolas Bradley THE KNICK * Studio: Cinemax Producer: Michael Polaire THE BRINK * Studio: HBO Producers: Juanita Diana Feeney, Jon Poll CHICAGO CODE * Studio: FOX Producers: Shawn Ryan, Nicolas Bradley DALLAS (Season 1) * Studio: TNT Producers: Michael Robin, Cynthia Cidre, Bryan J. Raber, Ken Topolsky MAD DOGS * Studio: AMAZON Producers: Shawn Ryan, Chris Cole, Ken Topolsky, Nicolas Bradley TERRIERS * Studio: FX Producers: Nicolas Bradley, Shawn Ryan, Ted Griffin MEMPHIS BEAT * Studio: TNT Producers: George Clooney, Jan Nash, Liz Garcia, Josh Harto The NEWSROOM (Season 1) * Studio: HBO Producers: Alan Poul, Aaron Sorkin, Scott Rudin JENNIFER REEVE Music Supervisor *, Musicologist + Clearance** & Music Coordinator Credits THE ‘90s: THE DECADE THAT CONNECTED US (mini series) * Studio: National Geographic Producer: Jonathan Rudd THE ‘80s: THE DECADE THAT MADE US (mini series) * Studio: National Geographic Producer: Jonathan Rudd BOARDWALK EMPIRE (Season 2, 3, 4, 5) ** Studio: HBO Producers: Stephen Levinson, Martin Scorsese, Steve Turner, Brad Carpenter SENSE 8 ** Studio: NETFLIX Producers: Lana & Lilly Wachowski, Alex Boden, L. D. Jones Jr, Marcus Loges VINYL ** Studio: HBO Producers: Brad Carpenter, Mari-Jo Winkler MILDRED -
Listing by Cinematographer-Title-Director-Year-Country-Length Cinematographer Title Director Year Country Length
Listing by Cinematographer-Title-Director-Year-Country-Length Cinematographer Title Director Year Country Length * 24 Frames Kiarostami, Abbas 2017 IR 114 min * A Constant Forge: The Life and Art of John Cassavetes Kiselyak, Charles 2000 USA 200 min * A Midsummer Nights Dream * 1981 UK 112 min * Adam: Giselle (Dutch National Ballet) * 2010 NL 114 min * Adventures of Errol Flynn, The Heeley, David 2005 USA 87 min * Adventures of Rocky and Bullwinkle and Friends: Complete Ward, Jay; Alex Anderson; Bill Scott 2019 USA 3709 min * Adventures on the New Frontier Leacock, Richard; Albert Maysles; D.A. Pennebaker; et al. 1961 USA 52 min * Aeon Flux - The Complete Animated Collection Chung, Peter; Howard E. Baker 1995 USA 224 min * Albertville 1992 "One Light, One World" Jalbert, Joe Jay; R. Douglas Copsey 1992 FR 104 min * Alfred Hitchcock Presents: Season 1 * 1955 USA 566 min * Alfred Hitchcock Presents: Season 2 * 1956 USA 1014 min * Alfred Hitchcock Presents: Season 3 * 1957 USA 1041 min * Alfred Hitchcock Presents: Season 4 * 1958 USA 931 min * Alfred Hitchcock Presents: Season 5 * 1959 USA 985 min * Amsterdam 1928 "The IX Olympiad in Amsterdam" * 1928 NL 251 min * Amsterdam 1928 "The Olympic Games, Amsterdam 1928" Prager, William; Jules Perel 1928 NL 192 min * An Evening with the Alvin Ailey American Dance Theater Grimm, Thomas 2015 USA 108 min * Animatrix, The Maeda, Mahiro; Kôji Morimoto; Takeshi Koike 2003 USA 88 min * Apocalypse Now: Extras [BD: Disc 5] Coppola, Francis Ford 2010 USA PH 300+ min * Art Blakey & The Jazz Messengers Live in '58 * 2006 BE 55 min * Artifice, Ruse and Subterfuge: The Expert at the Card Table Magic Makers 2008 USA * * As You Like It * 1978 UK 150 min * Athens 2004 "Athens 2004: Stories of Olympic Glory" Greenspan, Bud 2005 GR 96 min * Atlanta 1996 "Atlanta’s Olympic Glory" Greenspan, Bud 1997 USA 206 min * Atomic Bomb Collection Kuran, Peter 2000 USA 249 min.