CL Presentation MIPCOM 09 [Lecture Seule]
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The Children's Television Act and Program-Length Commercials
The Children’s Television Act and Program-Length Commercials: Current Interpretations and Implications for the Future by KARI METROKA-KIRKHAM Bachelor of Science, 1985 Texas Christian University Submitted to the Faculty Graduate Division College of Communications In partial fulfillment of the Requirements for the degree of MASTER OF SCIENCE May, 2008 Acknowledgements There are so many people I have to thank that helped me through graduate school and this thesis – I know the orchestra will start to play while I am thanking them all. Although I will try to make this brief, the depth of my gratitude to you all has no limit. To all my friends, family and co-graduate students for your constant encouragement and understanding, I say thank you. You have been so patient, especially listening to me endlessly go on about my topic. My thanks also go out to Dr. Matt McCallister from Penn State who helped me clarify my thinking about this entire subject. Also, I want to thank Dr. Dale Kunkel and Newton Minow who took the time to respond to my emails as I was trying to research this project. I cannot tell you what it means to me to hear from all of you about this subject. My appreciation goes to all of the faculty and staff at TCU who have helped me through this process. I could not have done any of this without your help. A special thanks to Dr. Tommy Thomason and Dr. Julie O’Neil. Tommy – I would not be in graduate school at all if it had not been for you. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
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June 19, 2019 FCC FACT SHEET* Children's Television Programming
June 19, 2019 * FCC FACT SHEET Children’s Television Programming Rules; Modernization of Media Regulation Initiative Report and Order and Further Notice of Proposed Rulemaking – MB Docket Nos. 18-202 and 17-105 Background: Adopted to implement the Children’s Television Act of 1990, the FCC’s children’s programming rules require commercial and noncommercial broadcast television licensees to serve the educational and informational needs of children through both their overall programming and programming specifically designed to serve such needs (i.e., Core Programming). In 2018, as part of its Modernization of Media Regulation Initiative, the Commission adopted a Notice of Proposed Rulemaking proposing to revise the children’s television programming rules to modify outdated requirements and to give broadcasters greater flexibility in serving the educational and informational needs of children. The Commission noted the vast changes in how children watch video programming and the large increase in children’s educational and information programming available from non-broadcast sources. What the Report and Order Would Do: • Expand the 7:00 a.m. to 10:00 p.m. time frame during which Core Programming must be aired to allow broadcast stations to begin airing Core Programming one hour earlier, at 6:00 a.m. • Require that a majority of Core Programming be regularly scheduled weekly programming but permit broadcast stations to air a limited amount of programming that is not regularly scheduled weekly programming, such as educational specials, and have it count as Core Programming. • Require that a majority of Core Programming be at least 30 minutes in length but permit broadcast stations to air a limited amount of short-form programming, including public service announcements (PSAs) and interstitials, and have it count as Core Programming. -
This Issue Be Included in the April 5 Issue of the Miami Hurricane Were Vandalized Sometime After P.O.W
Journalists discuss role of network news in society Brokaw, field leaders draw crowd of 200 By MADELINE BARO Hurricane Staff Writer more time is spent debating whether or NBC Nightly News anchor Tom Bro "I'm impressed that the not a story of questionable merit should kaw and a panel of broadcast journalists University brought such a be reported than in America. He said he discussed the role of network news in well-placed, well-connected group was shocked by some news broadcasts he society at "A Public Forum on Network saw in Miami. News" Saturday at the Ring Theatre. of journalists." Cramer received a round of applause The panel included Ed Turner, execu EDDIE DOMINGUEZ when he said he was worried about news tive vice-president of CNN; Barbara UM alumna that catered to the lowest common domi- Cochran, CBS News Washington Bureau nator. chief; Kathryn Christensen, senior pro Dominguez, a journalism student who ducer of ABC World News Tonight; Chris "I thought it was quite informative," graduated from UM in December. said broadcast student Melissa Viscount, Cramer, head of news gathering for BBC The hour-long discussion touched on news; and Brokaw. who said she enjoyed the discussion about topics like diversity in the newsroom, sensationalism in Miami news program Houston Chronicle television editor sensational news reporting, network ming. "It was amusing." Ann Hodges, Miami Herald television news personalities, the moral role of "It was a great opportunity to meet critic Hal Boedeker and Paul Steinle, news in society and media coverage. The head of the School of Communication's professionals or experts in the area of panel also answered questions submitted journalism," said Daniel French, a broad journalism program, questioned the by the audience before the discussion. -
Global Licensors, the Exclusiven Annual Compilation and Retail
MAY 2011 VOLUME 14 NUMBER 2 ® TOP GL OB AL LIC EN SO RS This exclusive report ranks the world’s largest licensors and spotlights hundreds of the hottest properties that are driving sales of licensed merchandise at all the major retailers around the globe. Sponsored by TOP GL OB AL LIC EN SO RS S R O S The Top 125 Global Licensors, the exclusiveN annual compilation and retail E C I sales ranking of the world’s largestL licensed brands from License! Global, L A reveals continued growth andB consumer demand for the hottest merchandise O L G from entertainmentG properties to fashion brands to corporate icons to sports leagues and franchises. By Tony Lisanti isney Consumer Products once again ranked as the No. The top three global licensors by major sectors are as follows: 1 global licensor reporting $28.6 billion in retail sales of Entertainment–DCP, WBCP and Marvel; Dlicensed merchandise worldwide in 2010, up from $27.2 Apparel–Iconix Brand Group, Phillips-Van Heusen and Cherokee; billion in 2009. DCP’s Toy Story franchise, influenced by box office Toy/Character–Mattel, Sanrio and Hasbro; success and merchandise demand for Toy Story 3, was the most Sports–Major League Baseball, Collegiate Licensing and National dominant property of the year at retail generating $2.4 billion in Football League; retail sales. DCP believes that Cars 2 could have a similar impact in Corporate Brands (non-apparel, non-automotive)–Westinghouse, the marketplace this year. Electrolux and Sunkist. DCP’s retail sales do not include Marvel Entertainment, a wholly The top ranked non-U.S. -
Disney Channel Tv Shows Schedule
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Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C
Before the FEDERAL COMMUNICATIONS COMMISSION Washington, D.C. 20554 ) ) Children’s Television Obligations of Digital ) MM Docket No. 00-167 Television Broadcasters ) ) REPLY COMMENTS OF THE NATIONAL ASSOCIATION OF BROADCASTERS NATIONAL ASSOCIATION OF BROADCASTERS 1771 N Street, NW Washington, DC 20036 (202) 429-5430 Marsha J. MacBride Jane E. Mago Jerianne Timmerman October 1, 2007 EXECUTIVE SUMMARY The National Association of Broadcasters (“NAB”) hereby submits its reply to certain comments filed in response to the Commission’s Public Notice regarding the status of children’s television programming. The record in this proceeding does not provide any basis for additional or revised regulations, as basic principles of administrative and constitutional law require. Rather, the record highlights the abundant programming choices available to children. As NAB and others demonstrated in the opening comments, broadcasters today are meeting the educational and informational needs of young viewers through a diverse array of high quality children’s programming and thus fulfilling the goals of the Children’s Television Act of 1990. Further, the myriad children’s programming options offered by commercial broadcasters are supplemented by the child-focused offerings of noncommercial stations, cable and satellite channels and video on-demand, DVDs, and the Internet. The proposals set forth by the Children’s Media Policy Coalition (“CMPC”) in its opening comments would impose on broadcasters burdensome obligations that are unsupported by the record and of questionable legality. Adoption of CMPC’s proposals would require the Commission, among other things, to make subjective judgments about the value of particular educational content, micromanage program scheduling, ignore its traditional definition of “common ownership,” and would compel broadcasters to place certain content on their websites. -
Children's Television
Children’s Television: Trends Around the World KODAIRA Sachiko Imaizumi As we enter an age in which children interact with an ever-increasing number of electronic media, it is nonetheless television that remains dominant in chil- dren’s lives. Around the world, there is a remarkable increase in children’s broadcasting: channels devoted to children’s television are being created, and existing channels are giving increasing priority to their programs for children. With rapid changes in society, programs are being developed in various ways to support the growth of children. There are greater opportunities for children worldwide to see these programs. At the same time, the effect of television and other media on children is a topic of serious debate and concern all over the globe. The Prix Jeunesse International marked the fortieth anniversary of this high profile children’s television festival in 2004. In addition, it was the year of the fourth World Summit on Media for Children, held every three years since 1995, which aims to improve the quality of programming and media for chil- dren throughout the world. Japan, meanwhile, celebrated 50 years of televi- sion—including television for children—in 2003, and program planners are now embarking on children’s television design for a new age. This essay presents an analysis of current trends in children’s television around the world, and explores issues for the future.*1 * The following abbreviations are used in the footnotes: HBKN: NHK Hoso Bunka Kenkyujo nenpo [NHK Annual Bulletin of Broadcasting Culture Research]; HKC: Hoso kenkyu to chosa [NHK Monthly Report on Broadcast Research]. -
Changing the Channels: How Big Media Helps Big Food Target Kids (And What to Do About It)
November 2019 Changing the Channels: How Big Media Helps Big Food Target Kids (and What to Do about It) REPORT WRITTEN BY: Amanda Reat, PhD, RD, Sara Ribakove, Margo G. Wootan, DSc Center for Science in the Public Interest www.cspinet.org Changing the Channels: How Big Media Helps Big Food Target Kids (and What to Do about It) About the Center for Science in the Public Interest CSPI is America’s food and health watchdog. We are a rigorous driver of food system change to support healthy eating, safe food, and the public’s health. We transform the built food environment through leading-edge policy innovations grounded in meticulous research and powerful advocacy. We galvanize allies and challenge industry, driving system-wide changes and healthier norms for everyone, leveraging the greatest benefits for people facing the greatest risk. CSPI is fiercely independent; we accept no government or corporate grants. Acknowledgements Jennifer Emond from the Geisel School of Medicine at Dartmouth College, Sally Mancini from the UConn Rudd Center for Food Policy and Obesity, Peter Lurie, Julia McCarthy, and Colin Schwartz provided valuable suggestions and review of the report. For more information, contact: Center for Science in the Public Interest [email protected] 202-777-8352 Changing the Channel: How Big Media Helps Big Food Target Kids (and What to Do about It) is available online, free of charge at cspinet.org/FoodAdReport November 2019 Cover Photos: stock.adobe.com (clockwise from top left): Inti St. Clair, biker3, WavebreakMediaMicro, liderina. -
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• 95x26’ (4 seasons) + 1x52’ special 2D CGI Animation • 26x26’ Live Action / CGI HD In Production – Delivery Q1 2013 • Genre: action/adventure/sitcom • Target: 6+ THE SERIES A POWERFUL 360° BRAND • 97x26’ available in more than 10 Languages: English, French, Castillan, Portuguese, Italian, Dutch, Polish, Neutral Spanish, Brazilian, Mandarin, Arabic, Korean, Russian • 10 years of International TV success in 150 countries: #1 on France 4, #2 in Spain on Clan TV, #4 in Italy on Rai Gulp, #2 in Hungary on Megamax… • A growing online community: +230 000 Facebook fans worldwide on the official FB page and more than 400 000 active members • Browser Social Online Game: In the Top 5 of Facebook actions games growing by 5000 per day since international launch on July 2012. More than 1 200 000 players worldwide! • 40 active Licensees: Toys (Simba), Home Video (Warner Bros & Universal), Publishing (Hachette…), Video Games (Wii, DS, PSP), Back to School, Home Textile, Food Promotion, Candies,… WITH AMBITIOUS DEVELOPMENTS • New season in production combining CGI Animation and Live-action (26 X 22’) - Delivery Q1 2013. Available also as Format! • Already sold to : RTBF Belgium, Measat Malaysia, Cineplex Thailand, Canal Panda Portugal, Canal + Poland, Noga Israël, Pravai Preuvod Serbia, DPI Russia (Channel One), MTV OY Finland THE ANIMATED SERIES SYNOPSIS • Utilizing the latest advances in 2D and 3D computer graphics imagery (CGI), “Code Lyoko” follows the adventures of four teenage students who discover the existence of a mysterious parallel universe, a virtual world called Lyoko. • The students, Yumi, Ulrich, Odd and Jeremy discover that both Earth and Lyoko are being threatened with destruction by a super virus, X.A.N.A., which has infected the Super Computer that controls everything. -
Typology of Tropes in Avatar-Based Storytelling Practices
Replay 1 (3) / 2016; I. CEEGS 2015 Proceedings; Articles / Artykuły http://dx.doi.org/10.18778/2391-8551.03.06 Marta Tymińska University of Gdansk Avatars Going Mainstream: Typology of Tropes in Avatar-Based Storytelling Practices Introduction Being trapped in a computer game, fighting evil Artificial Intelligence, saving the world or at least virtual reality – those tropes are common in contemporary novels, comic books and motion pictures. The majority of popular, mainstream culture reco- gnizes digital games, virtual reality and the Internet as part of everyday experience, therefore it often incorporates them in its narratives. The influence of games upon other media transpires in various forms: from including such themes in world-buil- ding and storytelling to creating spaces imitating game-like experiences. Avatars star- ted to appear in various titles as main characters or projections thereof. The inclusion of avatars in such non-game narratives can recreate the common knowledge of digital game context or various misconceptions that authors of other popular media hold regarding player-avatar phenomena. The aim of this article is to investigate popular tropes within avatar-based story- telling practices present in popular media other than digital games. Inspired by Ted Friedman’s work (2005) on cybercultures and representation of computers in popular culture, this paper will focus on avatar-related tropes through an analysis of a range of texts such as: comic books, motion pictures, animations, TV series, and whole fran- chises. The results will be confronted with the most recent research in the matter of avatars in game studies. This approach will enable me to create a typology of narrative tropes connec- ted with the gaming experience throughout the avatars and to explore the avatar- 101 -player relationship.