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Pontificia Universidad Católica Del Ecuador Facultad De Comunicación, Lingüística Y Literatura Escuela De Comunicación
PONTIFICIA UNIVERSIDAD CATÓLICA DEL ECUADOR FACULTAD DE COMUNICACIÓN, LINGÜÍSTICA Y LITERATURA ESCUELA DE COMUNICACIÓN DISERTACIÓN PREVIA A LA OBTENCIÓN DEL TÍTULO DE LICENCIATURA EN COMUNICACIÓN CON MENCIÓN EN PERIODISMO PARA PRENSA, RADIO Y TELEVISIÓN ANÁLISIS NARRATIVO DE LA FIGURA DEL ANTIHÉROE EN LA SERIE BREAKING BAD AUTOR: CHRISTIAN ALEJANDRO DÍAZ FLORES DIRECTOR: MSG. CARLOS AULESTIA QUITO, 2018 Agradecimientos A mis padres, por su constante esfuerzo y por ser la guía de mi vida. A mi hermana, por bancarme siempre. A mis amigos, por compartir este viaje. A Carlos Aulestia, por la confianza. 1 ÍNDICE Agradecimientos ............................................................................................................. 1 Introducción .................................................................................................................... 4 Capítulo 1: ....................................................................................................................... 6 Nociones básicas del antihéroe ...................................................................................... 6 1. ¿Qué es un antihéroe? ........................................................................................ 6 1.1.Construcción del personaje .......................................................................... 9 2. Antecedentes de la representación del antihéroe en TV .................................. 11 2.1.Nueva narrativa en la televisión ................................................................. 11 2.2.Los -
The Daily Feather
Start Your Day with Danielle Macroeconomic Research Analysis & Insights Subscribe to The Daily Feather www.quillintelligence.com Deadpool of Labor VIPs Downward Payroll Revisions and • Powell’s characterization of the labor market being in “quite a strong Yield Curve Inversion Trending. position” defies Fed’s revision rule of thumb: three straight months Coincidence? We Think Not. of up or down revisions signal cycle turns; August marked month 120 Private Nonfarm Payroll Benchmark (avg per month, K) five, accompanied by a similar stretch of yield curve inversion Private Payroll Two-Month Revisions (sum total, K) 100 U.S. 3-month/10-year Yield Spread (bps) • Fed economists treat benchmark revisions as stronger indicators of 80 trend change vs. real time revisions with the first year of a significant benchmark revision tending to foreshadow the next; BLS private 60 payroll data was benchmark revised by -0.4%, the worst since 2010 40 • Analyzing the timeframe from January and March 2019 with the lat- 20 ter the last for which benchmark revisions are available indicates a 0 worsening trend suggesting next August’s BLS benchmark revision -20 through March 2020 will be deeper -40 -60 In Time travel has a protocol. But don’t let Deadpool 2 violating said -80 protocol, dictated by Marvel Cinematic Universe (MCU —yes, there Apr MayJun JulAug SepOct NovDec Jan FebMar AprMay JunJul AugSep really is an acronym for that), dissuade you from catching the brilliant ‘18 ‘19 Source: Bloomberg, BLS, U.S. Treasury sequel to the quirkiest of all the mega-franchise’s offerings. So what if Cable, portrayed by Josh Brolin, changes the past in the present. -
Show Title the Sentinel's Marvellous Kaleidoscope Show Start 15
The Sentinel's Marvellous Show Title Kaleidoscope Show Start 15:00 Broadcast Date Requirements Status Programmer Nicholas Cooper Show End 17:00 Weekday Monday Cancon 35% 9.09% -25.91% progressive music, fusion Brent O'Toole Description Show Category 21 Guests in Studio New 20% 0.00% -20.00% music, alternative music Hit < 10 Entries: 36 Music 22 CLICK HERE FOR LOG NUMBER KEY 9.09% 0.00% 0.00% 81.82% Log# Start Time End Time Artist / Talk Album / source Label (If New) Song / Language CANCON New Hit Instrumental 44 03:02 03:03 Show Intro 34 Kristofer Maddigan Cuphead - Original Soundtrack - - - Sugarland Shimmy 12 03:06 03:11 Talk 21 Kelly Bailey Half Life 2: Episode 2 OST - - - Sector Sweep Click Clock Wood 21 Grant Kirkhope Banjo-Kazooie: The Soundtrack - - - (Spring) Pokemon Red & Pokemon Blue Super 21 Junichi Masuda Music Collection - - - Battle! (Trainer Battle) 12 03:22 03:27 Talk Keigo Hoashi, Keiichi Amusement Park [Emi Okabe, Kuniyuki Evans' Chaos 21 Takahashi NieR: Automata Original Soundtrack - - - Language] 43 03:33 03:33 Station ID Keiichi Suzuki, Hirokazu 21 Tanaka Earthbound OST - - - Sanctuary Guardian 12 03:35 03:37 Talk Jake Kaufman, Manami An Underlying 21 Matsumae Shovel Knight - - - Problem The Original Donkey Kong Country 2 Stickerbrush 21 David Wise Soundtrack - - - Symphony Kenji Tamamoto, Metroid Prime and Fusion Original 21 Kouichi Kyuma Soundtrack - - - Tallon Overworld 12 03:48 03:54 Talk Katamari on the Rocks 21 Yuu Miyake Katamari Damacy OST - - - [Japanese] 12 03:58 04:02 PSA/PROMO/AD 43 04:02 04:02 Station -
Nature of Elliot Goldenthal's Music
The Nature of Elliot Goldenthal’s Music & A Focus on Alien 3 (& other scores) There is “something different” about Elliot Goldenthal’s music. There is also considerable brain and brawn in Elliot Goldenthal’s film music. His style is difficult to label because his approach is so eclectic depending on the project. Sometimes I feel he is fundamentally an independent art-house composer (perhaps Frida, say, and The Good Thief) although he can demonstrate thrilling orchestral power in scores such as Sphere and the Batman movies that I personally quite enjoyed. Overall he shows a Late Modernist temperament, musically an American Bohemian, but nevertheless grounded somewhat in the mainstream traditions (certainly at least traditional notation). His polystylism (eclectism) is a postmodern characteristic. An excellent example of polystylism is his score for Titus (and Good Thief to a lesser extent, and even an example or two in Alien 3) with the diverse or even odd juxtaposition of genres (symphonic-classical, rock, etc.) that represents in one score the type of projects he collectively undertook over the last fifteen years or so. There is not one clear-cut musical voice, in other words, but a mixture or fusion of different styles. It is, in part, his method of organization. Loosely speaking, his music is avant-garde but certainly not radically so--as in the case of John Cage with his aleatoric (random) music and quite non-traditional notation (although Goldenthal’s music can at select times be aleatoric in effect when he utilizes electronic music, quarter-toning, and other devices). He is experimental and freewheeling but certainly this tendency is not overblown and expanded into the infinite! He definitely takes advantage of what technology has to offer (MIDI applications, timbre sampling, synthesizer usage, etc.) but does not discard what traditions are useful for him to express his vision of musical art. -
2016 Spring Newsletter
Official Fan Club Site—www.juicenewtonfanclub.com 2016 Spring Newsletter Hi Everyone, The support and love for Juice has never been as powerful and as proven as it was over the last few months. This issue of the newsletter will feature some new information about Juice and will introduce you to the 2016 “O” Award winner. Paul 1 A Hit All Over Again I am pleased to announce that Juice is once again on the charts with the song that is as classy as she is. ‘Angel of The Morning’ is once again on the charts thanks to the blockbuster movie ‘Deadpool.’ (more on this later) A whole new generation of fans are listening to Juice and have joined the fan club or in- quired about the song. Congratulations Juice!! 'Deadpool' Director Tim Miller and Songwriter Chip Taylor on the Film's Soft-Rock Center- piece, 'Angel in the Morning' (http://www.billboard.com/articles/business/6882938/behind-deadpool-soundtrack-tim-miller-chiptaylor-juice-newton-angel-in-the-morning) “There'll be no strings to bind your hands / Not if my love can't bind your heart.” That’s the first thing you hear over the Marvel logo in the No. 1 movie in the country, Deadpool. As '80s pop country singer Juice Newton sings about an illicit love affair she just can’t shake in her 1981 hit “Angel of the Morning,” Ryan Reynolds’ f-bomb blasting anti-hero gets busy kicking ass. It makes zero sense on the surface, and yet director Tim Miller says that the song was the only track con- sidered to open the superhero flick that grossed another $55 million over the weekend to easily hold on to the No. -
International Production Notes
INTERNATIONAL PRODUCTION NOTES PUBLICITY CONTACT Julia Benaroya Lionsgate +1 310-255-3095 [email protected] US RELEASE DATE: SEPTEMBER 28, 2018 RUNNING TIME: 89 MINUTES TABLE OF CONTENTS PRODUCTION INFORMATION ..................................... 4 ABOUT THE CAST ................................................ 14 ABOUT THE FILMMAKERS ..................................... 18 END CREDITS ...................................................... 26 3 PRODUCTION INFORMATION In this terrifying thrill ride, college student Natalie is visiting her childhood best friend Brooke and her roommate Taylor. If it was any other time of year these three and their boyfriends might be heading to a concert or bar, but it is Halloween which means that like everyone else they will be bound for Hell Fest – a sprawling labyrinth of rides, games and mazes that travels the country and happens to be in town. Every year thousands follow Hell Fest to experience fear at the ghoulish carnival of nightmares. But for one visitor, Hell Fest is not the attraction – it is a hunting ground. An opportunity to slay in plain view of a gawking audience, too caught up in the terrifyingly fun atmosphere to recognize the horrific reality playing out before their eyes. As the body count and frenzied excitement of the crowds continue to rise, he turns his masked gaze to Natalie, Brooke, Taylor and their boyfriends who will fight to survive the night. CBS FILMS and TUCKER TOOLEY ENTERTAINMENT present a VALHALLA MOTION PICTURES production HELL FEST Starring Amy Forsyth, Reign Edwards, Bex Taylor-Klaus and Tony Todd. Casting by Deanna Brigidi, CSA and Lisa Mae Fincannon. Music by Bear McCreary. Costume Designer Eulyn C. Hufkie. Editors Gregory Plotkin, ACE and David Egan. -
Chapter 2 T H E S U B T L E T I E S, I N T R I C a C I E S a N D
How Film & TV Music Communicate – Vol.2 Text © Brian Morrell 2013 Chapter 2 T H E S U B T L E T I E S, I N T R I C A C I E S A N D E X Q U I S I T E T E N S I O N S O F T V M U S I C In this chapter we will examine the music for some notable television dramas and documentaries, all of which have, to varying degrees, subtlety, introspection and /or elements of minimalism as hallmarks of their identity. This needn’t always mean ‘quiet and closed-off’ but that the composers in each case have scored the films using a degree of restraint and sensitivity. In all cases the music has been pivotal in defining the projects commercially and creatively. The television dramas and documentaries analysed are: Lost (Michael Giacchano) The Waking Dead (Bear McCreary) Midnight Man (Ben Bartlett) Twin Peaks (Angelo Badalmenti) Silent Witness (John Harle) Inspector Morse (Barrington Pheloung) Deep Water (Harry Escott) Inspector Lynley Mysteries (Andy Price) Ten Days to War (Daniel Pemberton) Red Riding (Adrian Johnston) Dexter (Rolf Kent and Daniel Licht) Lost Michael Giacchano Lost is an iconic and successful television series which aired between 2004 and 2010. It follows the lives of survivors of a plane crash on a mysterious tropical island somewhere in the South Pacific. Episodes typically feature a storyline on the island as well as a secondary storyline from another point in a character’s life. The enormously evocative and expressive music for Lost is striking both in terms of its style and its narrative function. -
Micdi Productions, Inc
MICDI PRODUCTIONS, INC. CALIFORNIA STATE CORPORATION SIGNATORY OF I.A.T.S.E. MEMBER OF LOCAL 700 EDITOR’S GUILD [email protected] PHONE 818-563-3400 FAX 818-563-3800 MICDI PRODUCTIONS, INC. MICDI Productions is an award-winning, cutting-edge music editoriaL company and is home to a famiLy of taLented music editors, assistants, and support staff. Formed in 1987, MICDI holds among its credits many of film and television’s biggest hits and emerging favorites. We pride ourselves as creative colLaborators and host a Long and storied list of fiLmmakers, producers, composers, and music supervisors as our partners. We are adept in providing high-quaLity music editoriaL services for many media formats including broadcast television, feature fiLms, streaming, and new media. The MICDI faciLity is equipped with state-of-the-art technology including on-site ProtooLs editoriaL suites, mobiLe ProtooLs editoriaL systems, a fulLy networked faciLity and their very own high-speed server to secureLy transfer media fiLes with productions anywhere around the world. To colLaborate with remote productions and clienteLe, MICDI is equipped with remote playback systems such as Source Live and Source Connect, as welL as their very own hardware QVidium media streaming system. AdditionaLLy, our editors have access to a vast and exclusive fiLm & television score library containing many thousands of titLes, avaiLable only to MICDI. Being centraLLy located to aLL major studios in the greater Los Angeles area, our Burbank faciLity hosts amenities including a fulLy-stocked hospitaLity kitchen, runner & client services personnel, a conference room and electric vehicle charging stations. We look forward to Learning more about your project. -
Television Academy Awards
2021 Primetime Emmy® Awards Ballot Outstanding Music Composition For A Series (Original Dramatic Score) The Alienist: Angel Of Darkness Belly Of The Beast After the horrific murder of a Lying-In Hospital employee, the team are now hot on the heels of the murderer. Sara enlists the help of Joanna to tail their prime suspect. Sara, Kreizler and Moore try and put the pieces together. Bobby Krlic, Composer All Creatures Great And Small (MASTERPIECE) Episode 1 James Herriot interviews for a job with harried Yorkshire veterinarian Siegfried Farnon. His first day is full of surprises. Alexandra Harwood, Composer American Dad! 300 It’s the 300th episode of American Dad! The Smiths reminisce about the funniest thing that has ever happened to them in order to complete the application for a TV gameshow. Walter Murphy, Composer American Dad! The Last Ride Of The Dodge City Rambler The Smiths take the Dodge City Rambler train to visit Francine’s Aunt Karen in Dodge City, Kansas. Joel McNeely, Composer American Gods Conscience Of The King Despite his past following him to Lakeside, Shadow makes himself at home and builds relationships with the town’s residents. Laura and Salim continue to hunt for Wednesday, who attempts one final gambit to win over Demeter. Andrew Lockington, Composer Archer Best Friends Archer is head over heels for his new valet, Aleister. Will Archer do Aleister’s recommended rehabilitation exercises or just eat himself to death? JG Thirwell, Composer Away Go As the mission launches, Emma finds her mettle as commander tested by an onboard accident, a divided crew and a family emergency back on Earth. -
(Pdf) Download
Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Use of Progressive Rock in David Wise's Soundtrack for Donkey Kong
Use of Progressive Rock in David Wise’s Soundtrack for Donkey Kong Country and the Advancement of Video Game Music Brooke Spencer Professor Stephanie Lind MUSC501 3 March 2019 Introduction In 1994, Nintendo released the Super Nintendo game: Donkey Kong Country (DKC)– resulting in widespread popularity and new innovative use of music in gameplay. Through the utilization of prog-rock in David Wise’s soundtrack for DKC, Nintendo has expanded its range of musical styles, function, and status as a top contending videogame company. The use of prog-rock can be broken down in David Wise’s three pieces: “Treetop Rock”, “Fear Factory”, and “Aquatic Ambience”. Through elements of prog-rock seen in each of these pieces - harmonic prolongation, fragmentation, distortion, and use of the concept ‘meta- chord’ – we can see that DKC’s music was unlike anything Nintendo had been creating previously, and set expectations for music in videogames to come. History Starting in 1977-78, the video game industry began to rise in popularity through arcades. In the 1960s/1970s when first-generation home consoles were created, sound was not a possibility. It was only when Pong was released on the Atari home console in 1975 that sounds were used deliberately: the game had 3 different sounds coinciding with actions on screen: the ball hitting the wall, the paddle, and a sound for player failure. Most games included sound in future releases to increase profits after Pong’s success.1 By the end of the 70s, arcades were growing in popularity, with Nintendo a primary arcade console producer. -
Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K.