DOCSLIB.ORG

An Introduction to Television Studies Ebook Free Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Introduction to Television Studies Ebook Free Download AN INTRODUCTION TO TELEVISION STUDIES PDF, EPUB, EBOOK Jonathan Bignell | 360 pages | 06 Dec 2012 | Taylor & Francis Ltd | 9780415598170 | English | London, United Kingdom An Introduction to Television Studies PDF Book Television Studies This guide is an introduction to library and internet resources for Television Studies. Defining the field is problematic; some institutions and syllabuses do not distinguish it from media studies or classify it as a subfield of popular culture studies. Limitations of ethnography. British television in global contexts. Chicago: Fitzroy Dearborn, — Lucinda M. Competing for valuable audiences. Telly Awards These awards honor the best in regional, local and cable television commercials, programs and segments. You can use this index to find articles about television theory. You can still use BrowZine! Written by leading scholars in the field, this book is an internationally relevant, cutting-edge reassessment of both current methods and practices in television historiography and of assumptions about television history itself. Television studies. The Cosby Show. Encyclopedia of Television Pilots, by Vincent Terrace. Introductory reading s Critical dictionary of film and television theory by Roberta E. Film Literature Index. The awards recognize distinguished achievement and meritorious service by radio and television networks, stations, producing organizations, cable television organizations and individuals. Another impact of the disciplinary hybridity is the diversity in the types of studies carried out. Find the journals you like, create a custom Bookshelf, get ToCs and read the articles you want. The organisation of chapters. Programmes and forms. Culture industry Echo chamber Manifest and latent functions and dysfunctions Mediatization Opinion leadership Semiotic democracy Two-step flow of communication. The global and local interrelationship. The following journals are either devoted to television studies or, at the least, frequently include TV-studies essays. Since the s, feminist television scholars have focused " Television : critical methods and applications by Jeremy G. Identifying programme genre. The documentary mode. Television Realities. NAACP Image Awards Spanning 60 categories, the NAACP Image Awards celebrates outstanding achievements of people of color in the arts—television, music, literature, and film— and also honors individuals and groups who promote social justice through creative endeavors. Today the Journal of Popular Film and Television remains the leading scholarly publication for socio-cultural analyses of films and television programming. Toggle navigation. Connotations and codes. Postmodernism and value. This reference work, the most complete guide to aired and unaired television pilot films ever published or made available in any way , contains 5, alphabetically arranged programs, each with storyline information, performer and character cast listings, producers, air dates where applicable , genre, and network or cable association. Categories : Television studies History of television. Internet resource s. This encyclopedia covers the history of the genre in its multiple forms and informs and adds to the knowledge of either the new or informed reader. Encyclopedia of weird detectives : supernatural and paranormal elements in novels, pulps, comics, film, television, games and other media by Paul Green. Feminist work on popular television. Postmodernism and globalisation. Report a problem. This is the main article index for all fields in Communication. It's now available in a web version. An Introduction to Television Studies Writer Searching the catalog for television theory When searching the online catalog for television criticism, there are 2 subject headings used in this catalog and they are listed below. Television Histories. The global and local interrelationship. Fan audiences. Dartmouth Users: Using Summon from off-campus? Based on her award-winning blog, The Feminist Spectator , Jill Dolan presents a lively feminist perspective in reviews and essays on a variety of theatre productions, films and television series. Attention and involvement. Don't own or use a mobile device? Media psychology Structural functionalism. Television Realities. Performing Arts Periodicals Database. Limitations of ethnography. Audiences in the multichannel environment. Once you have the ToC's you can download and read the articles you want. Defining the field is problematic; some institutions and syllabuses do not distinguish it from media studies or classify it as a subfield of popular culture studies. Journal of popular film and television. Categories : Television studies History of television. Pearson and Philip Simpson, eds. Awards for Television Emmys Search the Emmy site database to find who won what, when. Select bibliography. Stories of detectives investigating spiritualists, ghostly apparitions, the occult and psychics have spanned pulp fiction magazines, comic books, novels, film, television, animation and video games. Schedule Appointment. Some television scholars applied Marxist frameworks or the "critical sociology of the Frankfurt School ". Television studies. Chicago: Fitzroy Dearborn, — Reception contexts. Author Jeremy Butler demonstrates the ways in which cinematography and videography, acting, lighting, set design, editing, and sound combine to produce meanings that viewers take away from their television experience. This work presents an original treatment of TV criticism with a foundational approach to the nature of criticism, an understanding of the business of TV, production background in creating TV style, the interaction of rhetoric and cultural studies theories, representation, and postmodernism. You can use this index to find articles about television theory. Our television. Performing Arts Periodicals Database covers a broad spectrum of the arts and entertainment industry - including dance, drama, theater, stagecraft, musical theater, circus performance, opera, pantomime, puppetry, magic, performance art, film, television and more. Professional cultures in a Golden Age. An Introduction to Television Studies Reviews Encyclopedia of weird detectives : supernatural and paranormal elements in novels, pulps, comics, film, television, games and other media by Paul Green. Inventing television technologies. Birth of the Binge: Serial TV and the End of Leisure describes and details serial television and "binge watching," the exceedingly popular form of contemporary television viewing that has come to dominance over the past decade. Attitudes to the audience. The detective genre has explored supernatural and paranormal themes throughout its colorful history. Film Literature Index. Author Jeremy Butler demonstrates the ways in which cinematography and videography, acting, lighting, set design, editing, and sound combine to produce meanings that viewers take away from their television experience. However, television studies can also incorporate the study of television viewing and how audiences make meaning from texts, which is commonly known as audience theory or reception theory. Reality TV and social control. Selection is made by the Peabody Board following review by special screening committees of faculty, students and staff. Studying Television. Realism and television technologies. They also honor online videos, films and commercials. Influence of mass media Mass communication Mass society Media ecology Media literacy New literacies Public opinion Social aspects of television. Performing Arts Periodicals Database. New review of film and television studies. The awards recognize distinguished achievement and meritorious service by radio and television networks, stations, producing organizations, cable television organizations and individuals. Identifying programme genre. The generic space of soap opera. Children and television. Today the Journal of Popular Film and Television remains the leading scholarly publication for socio- cultural analyses of films and television programming. Narrative structures. Our television. Help Learn to edit Community portal Recent changes Upload file. Television You Cant See. Written in clear and lively prose, Television explains how television programs and commercials are made, and how they function as producers of meaning. Covers Television literature from to An Introduction to Television Studies Read Online Me TV. Television Studies This guide is an introduction to library and internet resources for Television Studies. I included the keyword searches for " television criticism " and " tv criticism " because you end up getting different results. Competing for valuable audiences. Author Jeremy Butler demonstrates the ways in which cinematography and videography, acting, lighting, set design, editing, and sound combine to produce meanings that viewers take away from their television experience. Views Read Edit View history. Performing Arts Periodicals Database. News and liveness. Chicago: Fitzroy Dearborn, — With 20 branches nationwide, SAG represents nearly , actors who work in motion pictures, television, commercials, industrials, video games, Internet and all new media formats. Paying for interactive television. You can use this index to find articles about television theory. Television : critical methods and applications by Jeremy G. Television Studies This guide is an introduction to library and internet resources for Television Studies. Influence of mass media Mass communication Mass society Media ecology Media literacy New
Load more

Recommended publications
  • BRIDGING MEDIA-SPECIFIC APPROACHES the Value of Feminist Television Criticism’S Synthetic Approach
    BRIDGING MEDIA-SPECIFIC APPROACHES The value of feminist television criticism’s synthetic approach Amanda D. Lotz and Sharon Marie Ross Introduction Feminist study of media encompasses a variety of media forms, each of which possesses a distinct set of issues determined by the medium and how it is used, as well as by the variant theoretical and methodological traditions through which scholars have studied the medium. US feminist film and television criticism have maintained distinct methodological and theoretical emphases—yet the two areas of study are closely related. For example, feminist television studies developed from a synthesis of theoretical and methodological work in a range of fields, including feminist film criticism and theory, and remains at once connected to and distinct from feminist approaches to studying film. The commercial dominance of the US television system required that feminist television critics explore the “popular” to a degree less evident in US feminist film criticism, although feminist film critics have examined mainstream film texts with tools similar to those used by feminist television critics in other national contexts (Joanne Hollows 2000; Jacinda Read 2000; Yvonne Tasker 1993, 1998). Understanding the relationship between varied areas of feminist media scholar- ship—their necessary divergences and their commonalities—aids in developing increasingly sophisticated theory and in responding to technological, socio-cultural, and theoretical changes. The transition to digital formats and hybrid delivery systems has begun to alter traditions of both “film” and “television,” while postfeminist approaches have reinvigorated feminist media debates. Additionally, new media have established a place in popular use and academic criticism. This context makes it more crucial than ever to address the reasons for medium-specific feminist approaches as well as to consider what can be gained through shared conversations.
    [Show full text]
  • The Work of the Critic
    CHAPTER 1 The Work of the Critic Oh, gentle lady, do not put me to’t. For I am nothing if not critical. —Iago to Desdemona (Shakespeare, Othello, Act 2, Scene I) INTRODUCTION What is the advantage of knowing how to perform television criticism if you are not going to be a professional television critic? The advantage to you as a television viewer is that you will not only be able to make informed judgment about the television programs you watch, but also you will better understand your reaction and the reactions of others who share the experience of watching. Critical acuity enables you to move from casual enjoyment of a television program to a fuller and richer understanding. A viewer who does not possess critical viewing skills may enjoy watching a television program and experience various responses to it, such as laughter, relief, fright, shock, tension, or relaxation. These are fun- damental sensations that people may get from watching television, and, for the most part, viewers who are not critics remain at this level. Critical awareness, however, enables you to move to a higher level that illuminates production practices and enhances your under- standing of culture, human nature, and interpretation. Students studying television production with ambitions to write, direct, edit, produce, and/or become camera operators will find knowledge of television criticism necessary and useful as well. Television criticism is about the evaluation of content, its context, organiza- tion, story and characterization, style, genre, and audience desire. Knowledge of these concepts is the foundation of successful production. THE ENDS OF CRITICISM Just as critics of books evaluate works of fiction and nonfiction by holding them to estab- lished standards, television critics utilize methodology and theory to comprehend, analyze, interpret, and evaluate television programs.
    [Show full text]
  • The Place of Voiceover in Academic Audiovisual Film and Television Criticism
    EUROPEAN JOURNAL OF MEDIA STUDIES www.necsus-ejms.org The Place of Voiceover in Academic Audiovisual Film and Television Criticism Ian Garwood NECSUS 5 (2), Autumn 2016: 271–275 URL: https://necsus-ejms.org/the-place-of-voiceover-in- audiovisual-film-and-television-criticism Keywords: audiovisual essay, criticism, film, television, voiceover The line between academic and non-scholarly video- graphic film criticism The production of The Place of Voiceover in Academic Audiovisual Film and Television Criticism (2016) coincided with the release of two books focused on videographic film studies: The Videographic Essay – Criticism in Sound and Image, edited by Christian Keathley and Jason Mittell;[1] and Film Studies in Motion: From Audiovisual Essay to Academic Research Video, by Thomas van den Berg and Miklos Kiss.[2] The most recent instalments in a rich vein of writing exploring the potential of audiovisual research within screen stud- ies,[3] these two works set out distinctive (audio)visions of the format. A NECSUS – EUROPEAN JOURNAL OF MEDIA STUDIES shared point of deliberation is the balance the ‘academic’ video essay should strike in its adherence to traditional scholarly virtues and its exploration of the audiovisual form’s more ‘poetic’ possibilities. Essentially, Keathley and Mittell encourage film studies academics to loosen up; they begin with a description of editing exercises that invite participants to play with sounds and images in ways to help them ‘unlearn’ their usual habits of academic research and presentation. Van den Berg and Kiss, by contrast, argue po- lemically for a considerable tightening of practice in video essay work, if it is to be considered academically credible.
    [Show full text]
  • Jennifer Chovancek
    JENNIFER CHOVANCEK ASSISTANT PRODUCTION COORDINATOR 1-95 Malvern Ave. Toronto On M4E 3E6 C.416-844-6780 [email protected] Assistant Production Workin’ Moms Television Series CBC Coordinator Producers: Catherine Reitman, Philip 07-11, 2016 Sternberg, Jonathan Walker PM: Anthony Pangalos PC: Michelle Kanyo Assistant Production The Stanley Dynamic II Television Sitcom YTV Coordinator Producers: Teza Lawrence, Michael 08, 2015 - 04, 2016 Souther, Ken Cuperus, Victoria Hirst PM: Maribeth Daley PC: Alison Waxman 2nd Unit Assistant Warrior TV Pilot NBC Production Producer: Marc David Alpert 03-04, 2015 Coordinator PM: Brian Campbell PC: Keitha Redmond Production The Stanley Dynamic Television Sitcom YTV Coordinator Producers: Teza Lawrence, Michael 05-12, 2014 Souther, Ken Cuperus, Victoria Hirst PM: Maribeth Daley Assistant Production The Stanley Dynamic Television Sitcom YTV Coordinator Producers: Teza Lawrence, Michael 02-05, 2014 Souther, Ken Cuperus, Victoria Hirst PM: Maribeth Daley PC: Alison Waxman Travel Coordinator The Best Laid Plans TV Mini Series CBC Producers: Brian Dennis, Phyllis Platt, 05-12, 2013 Peter Moss PM: Mary Pantelidis Assistant Production The F Word Feature Film No Trace Coordinator Producers: Jessie Shapira, Jeff Arkuss, 05-11, 2012 Camping David Gross, Hartley Gorenstein PM: Reggie Robb PC: Alison Waxman Assistant Production COPPER Television Series Cineflix/ BBC/ Coordinator Producers: Glen Salzman, Brad Van 12, 2011-03,2012 Shaw Arragon PM: Chris Danton PC: Nancy Jackson Assistant Production Sunshine Sketches
    [Show full text]
  • Indie TV: Innovation in Series Development Aymar Jean Christian Northwestern Univeristy I Spent Five Years Interviewing Creators
    Indie TV: Innovation in series development DRAFT Aymar Jean Christian Northwestern Univeristy I spent five years interviewing creators of American web series, or independent television online,1 speaking with 134 producers and executives making and releasing scripted series independent of traditional network investment. No two series or creators were ever alike. Some were sci-fi comedies created by Trekkers, others urban dramas by black women. Nevertheless nearly every creator differentiated their work and products from traditional television in some way. Strikingly, whenever I ask if any particular creator inspired them to develop their own show independently, I heard one response more than any other: Felicia Day. Indie TV creators revere Day for her innovation in production and distribution: she developed a hit franchise, The Guild, outside network development processes. The Guild, a sitcom about a diverse group of gamers who sit at computers all day to play an MMORPG in the style of World of Warcraft, ran for six seasons, from 2007 to 2013, and spawned a music video, DVDs, comic books, a companion book, as well as marshaled the passions of hundreds of thousands of fans. By the end of its run, The Guild had amassed over 330,000 subscribers on YouTube, though it could also be seen on other portals. In my work I have seen The Guild emerge as central to the online indie TV industry’s case for itself as antidote to what ails Hollywood. Day initially pitched to Christian, A.J. (forthcoming). Indie TV: Innovation in Series Development, in Media Independence: 1 working with freedom or working for free?.
    [Show full text]
  • THE Permanent Crisis of FILM Criticism
    mattias FILM THEORY FILM THEORY the PermaNENT Crisis of IN MEDIA HISTORY IN MEDIA HISTORY film CritiCism frey the ANXiety of AUthority mattias frey Film criticism is in crisis. Dwelling on the Kingdom, and the United States to dem­ the many film journalists made redundant at onstrate that film criticism has, since its P newspapers, magazines, and other “old origins, always found itself in crisis. The erma media” in past years, commentators need to assert critical authority and have voiced existential questions about anxieties over challenges to that author­ N E the purpose and worth of the profession ity are longstanding concerns; indeed, N T in the age of WordPress blogospheres these issues have animated and choreo­ C and proclaimed the “death of the critic.” graphed the trajectory of international risis Bemoaning the current anarchy of inter­ film criticism since its origins. net amateurs and the lack of authorita­ of tive critics, many journalists and acade­ Mattias Frey is Senior Lecturer in Film at film mics claim that in the digital age, cultural the University of Kent, author of Postwall commentary has become dumbed down German Cinema: History, Film History, C and fragmented into niche markets. and Cinephilia, co­editor of Cine-Ethics: riti Arguing against these claims, this book Ethical Dimensions of Film Theory, Prac- C examines the history of film critical dis­ tice, and Spectatorship, and editor of the ism course in France, Germany, the United journal Film Studies. AUP.nl 9789089647177 9789089648167 The Permanent Crisis of Film Criticism Film Theory in Media History explores the epistemological and theoretical founda- tions of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory.
    [Show full text]
  • 2014 Television Pilot Production Report Provides Updated Insight Into L.A.’S Ongoing Loss of New Television Pilot Projects and Promising Series
    Contact: Philip Sokoloski Danielle Walker VP, Integrated Communications Communications Coordinator (213) 977-8630 (213) 977-8635 [email protected] [email protected] FOR IMMEDIATE RELEASE New York Surpasses Los Angeles in Attracting New TV Drama Pilots Los Angeles’ Annual Pilot Production Share Slips to 44 Percent – A New Low LOS ANGELES – June 24, 2014 – FilmL.A., the not-for-profit film office serving the Greater Los Angeles Region, today announced the release of a new report prepared by its research division. The 2014 Television Pilot Production Report provides updated insight into L.A.’s ongoing loss of new television pilot projects and promising series. The 2013/2014 development cycle saw New York (with 24 drama projects retained) dethrone Los Angeles (with 19 drama projects retained) to become North America’s most attractive location for one-hour TV pilot production. Overall, Los Angeles retained only 90 projects (19 one-hour dramas and 71 half-hour comedies) out of 203 tracked during the ‘13/’14 development cycle, yielding a 44 percent pilot production share. Last year, L.A.’s pilot production share was 52 percent, and six years earlier, a commanding 82 percent. Leading competitors – including New York (35 total projects), Vancouver (17 total projects), Atlanta (12 total projects) and Toronto (8 total projects) – continue to gain ground on Los Angeles by attracting pilot producers with class-leading film incentive programs. Most of the pilot projects shot outside California were lucrative one-hour drama series produced for network, cable, or new media distribution. Including “straight-to-series” orders favored by new media content producers like Netflix, these projects cost $6 to $8 million to produce and employ 150-230 people during production.
    [Show full text]
  • Pressing Her Emotions
    "The Finellis" List of Awards (So Far) Los Angeles Film Awards • Winner - "Best Comedy" • Winner - "Best Web/TV Series Pilot" New York City Television Festival • Winner - "Best Television Series" • Winner - "Best Director" - Joris Hermans Amsterdam World Int'l Film Festival • Winner - "Best Television Series" Vegas Movie Awards • Winner - "Best Web/Television Pilot • 1st Runner-Up - "Best Song" ** London Independent Film Awards • Winner - "Best Web/Television Pilot" Rome Film Awards • Winner - "Best Television Series" • Finalist - "Best Song" ** German United Film Festival Berlin • Winner - "Best Television Series " Prague Int'l Monthly Film Festival • Winner - "Best Web/Television Series " Peak City Int'l Film Festival • Winner - "Best Foreign TV Series Pilot" After Hour Film Festival • Winner – "Best Television Series" South Shore Film Festival • Winner - “Best Comedy SitCom” • Winner - "Best Comedy SitCom Script" Cult Critic Movie Awards - Calcutta, India • Winner - "Best Web/Television Pilot" Vesuvius Int'l Monthly Film Festival - Naples, Italy • Winner - "Best Web/TV Series" Mediterranean Film Festival - Cannes • 1st Runner Up - "Best Television Series" ** All "Best Song" nominations are for "Here I Am Again" from Episode One of "The Finellis" ("The Homecoming") "Here I Am Again" music by Ulf Weidmann with lyrics by Mark Janicello "The Finellis" List of Nominations (So Far) Cult Critic Movie Awards - Calcutta, India • Finalist - "Jean Luc Goddard Award "Best TV Pilot or Series" London Independent Motion Picture Awards • Nominee -
    [Show full text]
  • TV Pilot Kit – Writers Store
    TV Pilot Kit From The Writers Store Ever fantasized about creating your own TV show? Stop dreaming & start writing! The TV Pilot Kit is the perfect launching pad for writing a professional TV Pilot proposal. This kit includes elements that guide you through your Pilot Proposal, including logline, plot, and acts, along with a Character Map for determining your cast and their motivations. Plus, you’ll find illustrated examples using the pilot of How I Met Your Mother. Once you're finished, you can confirm with an expert that your completed Kit is ready to compete in the Industry via our TV Pilot Kit Development Notes. With this professional service, you get a written analysis on your proposal's viability, which is that the delicate balance of a set-up, payoff, and ongoing plot lines and character arcs. Plus, your completed TV Pilot Kit proposals can be used to enter the next round of The Industry Insider TV Writing Contest, where you can win unparalleled Industry experience, a meeting with an esteemed executive producer, and much more. 2 Contents Elements of TV Pilot Proposal 4 Character Map 5 Example of TV Pilot Proposal 9 How I Met Your Mother Example of Character Map 12 How I Met YOur Mother 3 Industry Insider TV Pilot Proposal 1-SERIES LOGLINE 2- WRITE BRIEF DESCRIPTIONS FOR EACH OF YOUR MAIN CHARACTERS 3. USE THE CHARACTER MAP TO WRITE BRIEF DESCRIPTIONS DETAILING HOW EACH CHARACTER FEELS ABOUT THE OTHER CHARACTERS 4. WRITE A BRIEF DESCRIPTION OF THE PLOTS IN THE PILOT EPISODE 4a. A PLOT 4b.
    [Show full text]
  • 2018 Television Report
    2018 Television Report PHOTO: HBO / Insecure 6255 W. Sunset Blvd. CREDITS: 12th Floor Contributors: Hollywood, CA 90028 Adrian McDonald Corina Sandru Philip Sokoloski filmla.com Graphic Design: Shane Hirschman @FilmLA FilmLA Photography: Shutterstock FilmLAinc HBO ABC FOX TABLE OF CONTENTS INTRODUCTION 2 PRODUCTION OF LIVE-ACTION SCRIPTED SERIES 3 THE INFLUENCE OF DIGITAL STREAMING SERVICES 4 THE IMPACT OF CORD-CUTTING CONSUMERS 4 THE REALITY OF RISING PRODUCTION COSTS 5 NEW PROJECTS: PILOTS VS. STRAIGHT-TO-SERIES ORDERS 6 REMAKES, REBOOTS, REVIVALS—THE RIP VAN WINKLE EFFECT 8 SERIES PRODUCTION BY LOCATION 10 SERIES PRODUCTION BY EPISODE COUNT 10 FOCUS ON CALIFORNIA 11 NEW PROJECTS BY LOCATION 13 NEW PROJECTS BY DURATION 14 CONCLUSION 14 ABOUT THIS REPORT 15 INTRODUCTION It is rare to find someone who does not claim to have a favorite TV show. Whether one is a devotee of a long-running, time-tested procedural on basic cable, or a binge-watching cord-cutter glued to Hulu© on Sunday afternoons, for many of us, our television viewing habits are a part of who we are. But outside the industry where new television content is conceived and created, it is rare to pause and consider how television series are made, much less where this work is performed, and why, and by whom, and how much money is spent along the way. In this study we explore notable developments impacting the television industry and how those changes affect production levels in California and competing jurisdictions. Some of the trends we consider are: growth in the number of live-action scripted series in production, the influence of digital streaming services on this number, increasing production costs and a turn toward remakes and reboots and away from traditional pilot production.
    [Show full text]
  • 2017 WGA Theatrical and Television Basic Agreement
    2017 WRITERS GUILD OF AMERICA - ALLIANCE OF MOTION PICTURE AND TELEVISION PRODUCERS THEATRICAL AND TELEVISION BASIC AGREEMENT Table of Contents PREAMBLE REGARDING SO-CALLED "POSSESSIVE CREDITS” . 1 ARTICLE 1 - DEFINITIONS . 7 A. GENERAL . 7 B. THEATRICAL . 9 C. TELEVISION . 15 ARTICLE 2 - TERM AND EFFECTIVE DATE OF AGREEMENT . 25 A. GENERAL . 25 B. THEATRICAL . 26 C. TELEVISION . 27 ARTICLE 3 - WORK LISTS, LOAN-OUTS AND RECOGNITION. 27 A. GENERAL . 27 1. Work Lists and Notices of Employment . 27 2. Loan-Out Agreements . 28 B. RECOGNITION (THEATRICAL) . 29 C. RECOGNITION (TELEVISION) . 30 ARTICLE 4 - PARTIES BOUND BY THIS BASIC AGREEMENT . 30 A. GENERAL . 30 B. THEATRICAL . 31 C. TELEVISION . 32 ARTICLE 5 - GEOGRAPHICAL APPLICATION OF THIS BASIC AGREEMENT (GENERAL) . 33 ARTICLE 6 - GUILD SHOP (GENERAL) . 34 ARTICLE 7 - NO STRIKE, NO LOCKOUT CLAUSE (GENERAL) . 39 ARTICLE 8 - CREDITS FOR SCREEN AUTHORSHIP (GENERAL) . 41 ARTICLE 9 - MINIMUM TERMS (GENERAL). 41 ARTICLE 10 - GRIEVANCE AND ARBITRATION . 42 A. MATTERS SUBJECT TO GRIEVANCE AND ARBITRATION (GENERAL). 42 B. LIMITATION OF MATTERS SUBJECT TO GRIEVANCE AND ARBITRATION. 43 C. MATTERS SUBJECT TO ARBITRATION BUT NOT GRIEVANCE . 44 D. REFUSAL TO ARBITRATE . 44 E. REFERENCES . 45 i TABLE OF CONTENTS ARTICLE 11 - GRIEVANCE AND ARBITRATION RULES AND PROCEDURES . 45 A. GENERAL RULES. 45 1. Parties . 45 2. Time Limits . 46 3. Place of Hearing . 47 4. Award . 47 5. Costs . 48 6. Notices . 48 7. Conduct of Proceedings . 49 8. Claims for Compensation, Cross-Claims and Defenses. 49 9. Overpayments . 50 10. Withdrawal of Services . 51 B. GRIEVANCE . 52 1. Step One - Informal Conference. 52 2.
    [Show full text]
  • Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation
    Programming for TV, Radio, and the Internet: Strategy, Development, and Evaluation Philippe Perebinossoff Brian Gross Lynne S. Gross ELSEVIER Programming for TV, Radio, and the Internet Programming for TV, Radio, and the Internet Strategy, Development, and Evaluation Philippe Perebinossoff California State University, Fullerton Brian Gross EF Education, Jakarta, Indonesia Lynne S. Gross California State University, Fullerton AMSTERDAM · BOSTON · HEIDELBERG · LONDON NEW YORK · OXFORD · PARIS · SAN DIEGO SAN FRANCISCO · SINGAPORE · SYDNEY · TOKYO Focal Press is an imprint of Elsevier Acquisition Editor: Amy Jollymore Project Manager: Bonnie Falk Editorial Assistant: Cara Anderson Marketing Manager: Christine Degon Cover Design: Dardani Gasc Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2005, Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: [email protected] may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
    [Show full text]