Zálohadiplomka Konečná Verze

Total Page:16

File Type:pdf, Size:1020Kb

Zálohadiplomka Konečná Verze Masarykova univerzita Filozofická fakulta Ústav filmu a audiovizuální kultury Kristýna Chmelíková (FAV, magisterské navazující prezen ční studium) Narativn ě komplexní seriál a jeho transmediální extenze Případová studie amerického seriálu Battlestar Galactica Magisterská diplomová práce Vedoucí práce : Mgr. Pavel Skopal, Ph.D. Brno 2011 Prohlášení o samostatnosti Prohlašuji, že jsem pracovala samostatn ě a použila jen uvedených zdroj ů. Datum Podpis 31. dubna 2011 ............................................................................. 1 Poděkování Za vedení diplomové práce a cenné p řipomínky d ěkuji Mgr. Pavlu Skopalovi, Ph.D. Za podn ětné konzultace tématu pat ří m ůj dík Mgr. Jaroslavu Švelchovi a Mgr. Radomíru D. Kokešovi. Děkuji též Martinu Chmelíkovi za pomoc p ři zpracování graf ů a Vendule Pavlí čkové za jazykové korektury. Pod ěkovat za srde čnou podporu, a to nejen v dob ě vzniku této práce, pak chci svým rodi čů m a Michalu Kašpárkovi. 2 Klíčová slova Narativn ě komplexní seriál, transmediální vypráv ění, transmediální extenze, konvergence médií, narativní analýza, produser, hyperdiegeze, Battlestar Galactica Keywords Narrative complexity of a TV series, transmedia storytelling, transmedia extension, media convergence, narrative analysis, produser, hyperdiegesis, Battlestar Galactica 3 Obsah 1. Úvod ................................................................................................................................................ 6 1.1 Ne p říb ěh, ale sv ět nebo ansámbl.............................................................................................. 6 1.2 P řípadová studie ....................................................................................................................... 7 1.3 Struktura práce.......................................................................................................................... 8 1.4 Od „musím vid ět“ po „musím se zú častnit“ ............................................................................. 8 2. Narativn ě komplexní seriál ......................................................................................................... 11 2.1 Televizní žánr jako nástroj kategorizace................................................................................. 11 2.2 Od epizodické a sériové narace ke kumulativní ...................................................................... 12 2.3 Definice narativn ě komplexního seriálu.................................................................................. 13 2.4 Elssaeser ův koncept mindgame............................................................................................... 17 2.5 Hyperdiegeze: místo jednoho p říb ěhu sv ět, v n ěmž se odehrávají p říb ěhy ............................. 20 3. Zm ěny postup ů v produkci, nástup transmediality .................................................................. 22 3.1 Klí čový rok 1995 ..................................................................................................................... 22 3.2 Konvergence a transmedialita................................................................................................. 25 3.3 Problém oficiálního autorství transmediálních satelit ů .......................................................... 28 4. Nový typ diváka: produser.......................................................................................................... 31 4.1 Sí ťová povaha médií a transmediálnost .................................................................................. 31 4.2 Posun od letmého setkání po zainteresovanost ....................................................................... 32 4.3 Textuální lákadlo i aktivátor kolektivní inteligence ................................................................ 33 4.4 Spekulativní soupe ření diváka s autorem................................................................................ 34 4.5 Od b ěžného diváka k produserovi ........................................................................................... 35 5. Analýza seriálu Battlestar Galactica .......................................................................................... 38 5.1 P ůvodní koncept ze 70. let a jeho znovuvzk říšení.................................................................... 38 5.2 Nejen remake, ale zm ěna p říb ěhu na sv ět a p říklon k narativní komplexnosti........................ 39 5.3 Narativní analýza seriálu........................................................................................................ 42 5.3.1 Battlestar Galactica a model klasické hollywoodské narace ........................................... 42 5.3.2 Kategorizace a analýza d ějových linií ............................................................................. 43 5.3.3 Vazby epizod................................................................................................................... 59 5.3.4 Vazby řad ........................................................................................................................ 65 5.3.5 Vazby uvnit ř celého seriálu ............................................................................................. 69 5.4 Shrnutí kapitoly....................................................................................................................... 70 6. Extenze mimo samotný televizní seriál ...................................................................................... 72 6.1 Webizody ................................................................................................................................. 73 6.1.1 Webizody The Resistance ............................................................................................... 73 6.1.2 Webizody Razor Flashbacks ........................................................................................... 75 6.1.3 Webizody The Face of the Enemy .................................................................................. 76 6.1.4 Webizody: shrnutí ........................................................................................................... 78 6.2 Filmy ....................................................................................................................................... 80 6.2.1 Film Razor....................................................................................................................... 81 4 6.2.2 Film The Plan .................................................................................................................. 84 6.3 Spin-offy .................................................................................................................................. 86 6.3.1 Caprica ............................................................................................................................ 86 6.3.2 Blood and Chrome........................................................................................................... 89 6.4 Komiksy................................................................................................................................... 90 6.4.1 Komiksy Battlestar Galactica .......................................................................................... 90 6.4.2 Battlestar Galactica: Zarek .............................................................................................. 91 6.4.3 Battlestar Galactica: Season Zero.................................................................................... 91 6.4.4 Battlestar Galactica: Pegasus........................................................................................... 91 6.4.5 Battlestar Galactica: Origins............................................................................................ 91 6.4.6 Battlestar Galactica: Ghosts............................................................................................. 92 6.4.7 Battlestar Galactica: Cylon War...................................................................................... 92 6.4.8 Battlestar Galactica: The Final Five ................................................................................ 92 6.4.9 Komiksy: shrnutí ............................................................................................................. 93 6.5 Knihy....................................................................................................................................... 96 6.5.1 Román Battlestar Galactica ............................................................................................. 96 6.5.2 The Cylons' Secret: Battlestar Galactica 2....................................................................... 96 6.5.3 Sagittarius Is Bleeding: Battlestar Galactica 3 ................................................................ 96 6.5.4 Unity: Battlestar Galactica 4............................................................................................ 97 6.5.5 Knihy: shrnutí.................................................................................................................. 97 6.6 Hry .......................................................................................................................................... 99 6.6.1 Desková hra Battlestar Galactica..................................................................................... 99 6.6.2 Battlestar Galactica Online.............................................................................................. 99 6.6.3 Mody jiných her ...........................................................................................................
Recommended publications
  • Monthly Title Information Cover Sheet August 2020
    AMSTERDAM UNIVERSITY PRESS Monthly Title Information AI Sheets - August 2020 AUP Marketing; Lucia Dove ([email protected]) 26/05/2020 Amsterdam University Press 9789462987203 Corsi, Urbanization in Viking Age and Medieval Denmark 9789462989320 Gohain, Imagined Geographies in the Indo-Tibetan Borderlands 9789462983632 Lie, Towards a Political Aesthetics of Cinema 9789462988040 Jones, Death and Afterlife in the Pages of Gregory of Tours 9789462983373 Kuuliala, Saints, Infirmity, and Community in the Late Middle Ages 9789463721844 Thomas, Poussin's Women 9789462985865 Stevens, Fanvids 9789462989504 Hjorth et al, Digital Media Practices in Households 9789463720120 Mathias, Disaster Cinema in Historical Perspective 9789462988934 Ngo & Hung, Shadow Exchanges along the New Silk Roads 9789463726436 Tan, Buddhist Revitalization and Chinese Religions in Malaysia 9789089647221 Chen et al., Chinese "Cancer Villages" Arc Humanities Press 9781641892728 Sarti, Women and Economic Power in Premodern Royal Courts 9781641894067 Weiss et al., Waldef Amsterdam University Press and Arc Humanities Press titles are available outside North America through NBN International and available in North America and Canada through Baker & Taylor Publisher Services. Amsterdam University Press T +31 (0)20 420 00 50 www.aup.nl Nieuwe Prinsengracht 89 [email protected] facebook.com/AUPAcademic 1018 VR Amsterdam [email protected] twitter.com/AmsterdamUPress AMSTERDAM UNIVERSITY PRESS THE EARLY MEDIEVAL NORTH ATLANTIC Maria R.D. Corsi Urbanization in Viking Age and Medieval Denmark From Landing Place to Town This study traces the history of urbanization in Denmark from c. 500-1350 and explores how interconnected political, religious, economic factors were instrumental in bringing about the growth of towns. Prior to urban development, certain specialized sites such as elite residences and coastal landing places performed many of the functions that would later be taken over by medieval towns.
    [Show full text]
  • What Does Gender Mean in Regendered Characters
    What Does Gender Mean in Regendered Characters Author Baker, Lucy Published 2017-12-31 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2211 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/380299 Griffith Research Online https://research-repository.griffith.edu.au WHAT DOES GENDER MEAN IN REGENDERED CHARACTERS Ms Lucy Irene Baker, BA (Hons), MAppSci(Lib&InfoMgmt) School of Humanities, Languages, and Social Science Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 31 December 2017 21 Abstract This thesis examines the ways regendering, or ‘genderswapping’, is performed as an adaptational creative choice for fans and creators. Regendered works, such as the TV series Elementary, illustrate the complexity of representation, and the ongoing imbalanced landscape of media. I develop a more cohesive understanding of the fannish counterpublic and its complex approaches to creativity and gender by grounding the research and data collection in fan studies, gender studies, and literary theory. This thesis uses interviews, surveys, and observations of fannish communities, and close readings of regendered texts and media, to develop two theories of regendered effects. One: the position of regendered work within fannish counterpublics is one centred on the conflicts and tensions between lived experiences and the media landscape, performed through the creative forms that characterise their communities. Fannish experiences of gender and sexuality influence their reception of those works, and how they practice regendering as a creative process. Two: these works then reinforce that counterpublic by correcting the gender imbalance of the initial work, and re-othering the expectations of that work.
    [Show full text]
  • Apocalypse As Religious and Secular Discourse in Battlestar Galactica
    Volume 6 2014-15 APOCALYPSE & GHOSTS Apocalypse as Religious and Secular Discourse in Battlestar Galactica and its Prequel Caprica Diane Langlumé University of Paris VIII Saint-Denis Abstract he concept of the end of the world is inherent in religious discourse. Illustratively, in T Medieval Christianity, a divine power was held responsible for cataclysmic events. In the post-Hiroshima era, the concept of apocalypse has taken on secular meaning. Not surprisingly, given recent history, the apocalypse has become a prominent component of popular television epics; broadcast narratives, such as Battlestar Galactica and Caprica, entwine both Biblical and secular versions of the apocalypse, thereby creating a novel apocalyptic discourse which, instead of establishing the apocalypse as an end, uses it as a foundation, as a thought-provoking means of conveying a political message of tolerance and acceptance of otherness, of encouraging self-reflectiveness; and as a way of denouncing the empty rhetoric of religious extremism. Keywords: Television series, Battlestar Galactica, Caprica, religion, Book of Mormon, Bible, Book of Revelation, John of Patmos, Genesis, Adam, Garden of Eden, Heaven, God, fall of man, the beast, false prophet, angel, Second Coming, resuscitation, apocalypse, end of the world, nuclear apocalypse, Hiroshima, post-apocalyptic, genocide, intertextuality, parody, pastiche, religious satire, 9/11, America, religious terrorism, suicide bombing, cyborg, robot, humanity, monotheism, polytheism. he television series Battlestar Galactica1 establishes its chronology between a nuclear T apocalypse that has just taken place and the threat of a potential future apocalypse,2 both at the hands of human-looking cyborgs called Cylons. Caprica, its prequel series, set fifty- eight years before the nuclear detonation, unfolds the events leading up to the apocalypse in Battlestar Galactica.
    [Show full text]
  • Reminder List of Productions Eligible for the 86Th Academy Awards
    REMINDER LIST OF PRODUCTIONS ELIGIBLE FOR THE 86TH ACADEMY AWARDS ABOUT TIME Notes Domhnall Gleeson. Rachel McAdams. Bill Nighy. Tom Hollander. Lindsay Duncan. Margot Robbie. Lydia Wilson. Richard Cordery. Joshua McGuire. Tom Hughes. Vanessa Kirby. Will Merrick. Lisa Eichhorn. Clemmie Dugdale. Harry Hadden-Paton. Mitchell Mullen. Jenny Rainsford. Natasha Powell. Mark Healy. Ben Benson. Philip Voss. Tom Godwin. Pal Aron. Catherine Steadman. Andrew Martin Yates. Charlie Barnes. Verity Fullerton. Veronica Owings. Olivia Konten. Sarah Heller. Jaiden Dervish. Jacob Francis. Jago Freud. Ollie Phillips. Sophie Pond. Sophie Brown. Molly Seymour. Matilda Sturridge. Tom Stourton. Rebecca Chew. Jon West. Graham Richard Howgego. Kerrie Liane Studholme. Ken Hazeldine. Barbar Gough. Jon Boden. Charlie Curtis. ADMISSION Tina Fey. Paul Rudd. Michael Sheen. Wallace Shawn. Nat Wolff. Lily Tomlin. Gloria Reuben. Olek Krupa. Sonya Walger. Christopher Evan Welch. Travaris Meeks-Spears. Ann Harada. Ben Levin. Daniel Joseph Levy. Maggie Keenan-Bolger. Elaine Kussack. Michael Genadry. Juliet Brett. John Brodsky. Camille Branton. Sarita Choudhury. Ken Barnett. Travis Bratten. Tanisha Long. Nadia Alexander. Karen Pham. Rob Campbell. Roby Sobieski. Lauren Anne Schaffel. Brian Charles Johnson. Lipica Shah. Jarod Einsohn. Caliaf St. Aubyn. Zita-Ann Geoffroy. Laura Jordan. Sarah Quinn. Jason Blaj. Zachary Unger. Lisa Emery. Mihran Shlougian. Lynne Taylor. Brian d'Arcy James. Leigha Handcock. David Simins. Brad Wilson. Ryan McCarty. Krishna Choudhary. Ricky Jones. Thomas Merckens. Alan Robert Southworth. ADORE Naomi Watts. Robin Wright. Xavier Samuel. James Frecheville. Sophie Lowe. Jessica Tovey. Ben Mendelsohn. Gary Sweet. Alyson Standen. Skye Sutherland. Sarah Henderson. Isaac Cocking. Brody Mathers. Alice Roberts. Charlee Thomas. Drew Fairley. Rowan Witt. Sally Cahill.
    [Show full text]
  • But, You're Just a Girl
    University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-17-2013 But, You're Just A Girl Sasha McTee [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the English Language and Literature Commons Recommended Citation McTee, Sasha, "But, You're Just A Girl" (2013). University of New Orleans Theses and Dissertations. 1655. https://scholarworks.uno.edu/td/1655 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. “But, You’re Just A Girl:” The Female Hero in Modern Science Fiction and Fantasy A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English by Sasha Rene McTee B.A. University of Colorado at Boulder, 2007 May, 2013 Table of Contents Abstract .............................................................................................................................
    [Show full text]
  • BATTLESTAR GALACTICA and PHILOSOPHY:Knowledge Here
    BATTLESTAR GALACTICA AND PHILOSOPHY The Blackwell Philosophy and PopCulture Series Series editor William Irwin A spoonful of sugar helps the medicine go down, and a healthy help- ing of popular culture clears the cobwebs from Kant. Philosophy has had a public relations problem for a few centuries now. This series aims to change that, showing that philosophy is relevant to your life—and not just for answering the big questions like “To be or not to be?” but for answering the little questions: “To watch or not to watch South Park?” Thinking deeply about TV, movies, and music doesn’t make you a “complete idiot.” In fact it might make you a philosopher, someone who believes the unexamined life is not worth living and the unexamined cartoon is not worth watching. Edited by Robert Arp Edited by William Irwin Edited by J. Jeremy Wisnewski Edited by Jason Holt Edited by Sharon M. Kaye Edited by Jennifer Hart Weed, Richard Davis, and Ronald Weed BATTLESTAR GALACTICA AND PHILOSOPHY:Knowledge Here Begins Out There Edited by Jason T. Eberl Forthcoming the office and philosophy: scenes from the unexamined life Edited by J. Jeremy Wisnewski BATTLESTAR GA LACTICA AND PHILOSOPHY KNOWLEDGE HERE BEGINS OUT THERE EDITED BY JASON T. EBERL © 2008 by Blackwell Publishing Ltd blackwell publishing 350 Main Street, Malden, MA 02148–5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Jason T. Eberl to be identified as the author of the editorial material in this work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988.
    [Show full text]
  • 2010 Annual Report
    2010 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs Media As Community Events ......................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................14 PALEYDOCFEST ......................................................................................................................................20 PALEYFEST: Fall TV Preview Parties ...........................................................................................................21 PALEYFEST: William S. Paley Television Festival ......................................................................................... 22 Robert M.
    [Show full text]
  • 2009 Annual Report
    2009 ANNUAL REPORT Table of Contents Letter from the President & CEO ......................................................................................................................5 About The Paley Center for Media ................................................................................................................... 7 Board Lists Board of Trustees ........................................................................................................................................8 Los Angeles Board of Governors ................................................................................................................ 10 Media Council Board of Governors ..............................................................................................................12 Public Programs PALEYDOCEVENTS ..................................................................................................................................14 INSIDEMEDIA Events .................................................................................................................................15 PALEYDOCFEST .......................................................................................................................................19 PALEYFEST: Fall TV Preview Parties ..........................................................................................................20 PALEYFEST: William S. Paley Television Festival ..........................................................................................21 Robert M.
    [Show full text]
  • In This Issue
    Winter 2011 ~ Editors Ll. Doug Davis Gordon College 419 College Drive A publication of the Science Fiction Research Association Barnesville, GA 30204 [email protected] "' In this issue Jason Embry Georgia Gwinnett College SFRA Review Business 100 University Center Lane Lawrenceville, GA 30043 Continuity of Leadership in Interesting Times 2 [email protected] SFRA Business Managing Editor "Come Gather'Round People .. :' 2 Janice M. Bogstad Calling All Hands 3 University of Wisconsin, Eau Claire January 2011 Meeting Minutes 4 lOS Garfield Avenue State of the Finances 5 Eau Claire, W1 54702-50 l 0 SFRA 2011 Update 5 [email protected] Remembering Neil Barron 6 Nonfiction Editor Feature Michael Klein Genre Fiction in the (Pre)College Composition Classroom 7 James Madison University MSC 2103 Harrisonburg, VA22807 Nonfiction Reviews [email protected] The Animal Fable in Science Fiction and Fantasy 11 Fiction Editor Animal Alterity: Science Fiction and the Question of the Animal 11 Jim Davis Fiction Reviews Troy University Smith274 The Wesleyan Anthology of Science Fiction 12 Troy, AL 36082 The Strange Affair of Spring Heeled Jack 14 [email protected] The Dervish House 15 Cinco de Mayo 17 Media Editor The Fuller Memorandum 17 Ritch Calvin Media Reviews SUNY Stony Brook WOSIS Melville Library The Road 17 Stony Brook, NY 11794-3360 Inception 18 [email protected] Scott Pilgrim vs. the World 20 Battlestar Galactica: The Plan 21 The SFRA Review (ISSN 1068-395X) Caprica: Season 1 22 is published four times a year by the Paradox 24 Science Ficiton Research Associa­ FreakAngels 25 tion (SFRA), and distributed to SFRA Don't Look Back 27 members.
    [Show full text]
  • The Score Press Kit FINAL Apr27
    presents Running Time: 83:22 minutes Genre: Dramatic Musical Format: High Definition PRESS KIT For Sales Information Contact: World Sales IndieCan Entertainment Avi Federgreen 194 Glenholme Avenue Toronto, ON M6E 3C4 T: 416.898.3456 E: info@indiecanent/com SHORT SYNOPSIS A groundbreaking musical drama about a scientist whose own genetic history threatens her career, her lab and her life. “Are you ready to kick the ass genomic?” Dr. Lynn Magnusson is a brilliant geneticist racing to isolate a cancer-causing gene. All that’s standing in her way is competition from a well funded French lab, a ticking biological clock that leads to a risky office romance, and her own fears that she might carry the same Huntington’s gene that killed her mother. Based on the award-winning play by Electric Company Theatre, The Score explores the human elements and revolutionary implications of the rapidly advancing world of genetics and uses humour, music and dance to transform scientific ideas into universal themes of identity, freedom and creation. SYNOPSIS The Score tells the story of Dr. Lynn Magnusson, a woman at the helm of a cutting-edge but under-funded lab that is racing towards a significant discovery of genetics-based cancer research. In order to beat the odds at being the first to discover an elusive cancer trigger and maintain her funding, she contemplates sharing research and resources with a lab in Paris, headed by JP Martineau. Meanwhile she is being courted by Ameritech Pharmaceuticals, a multinational company that may be the answer to her lab’s financial woes.
    [Show full text]
  • At Vancouver Film School
    QUICK FACTS ACTING FOR FILM & TELEVISION ACTING FOR FILM & TELEVISION DURATION: AT VANCOUVER FILM SCHOOL 1 YEAR START DATES: JANUARY, MAY, SEPTEMBER VFS takes your passion for one of the world’s most vibrant art forms PROGRAM ESTABLISHED: and transforms it into a viable career path. Combined, the four- 1996 month Acting Essentials and one-year Acting for Film & Television CLASSROOM/MENTORSHIP HOURS: programs are capable of taking you from aspiring artist to camera- 27 PER WEEK ready actor — with the industry training and professional network to ADDITIONAL HOMEWORK HOURS: back it up. 10 PER WEEK MAJOR PROJECTS (AVERAGE): 3 PER YEAR THIS IS ACTING AT VFS THIS IS YOUR STUDIO INDUSTRY EVENTS (AVERAGE): The four-month Acting Essentials Located in the heart of beautiful 5 PER YEAR program is an incredible opportunity Downtown Vancouver, the VFS YOU GRADUATE WITH: for aspiring or curious actors to build Acting campus is surrounded by DIPLOMA IN ACTING FOR FILM & TELEVISION, PROFESSIONAL HEADSHOTS, REEL OF ON-CAMERA fundamental tools and a familiarity activity. With a black box studio EXPERIENCE, ONE-YEAR MEMBERSHIP TO with on-camera skills. For those with theatre, rehearsal space, screening CASTINGWORKBOOK.COM, AND ACCESS TO VFS some acting experience, the one-year rooms, and a voice-over recording JOB BOARD Acting for Film & Television program booth, you learn and perform each delivers intensive exposure to the day alongside potential collaborators professional-level performance in other VFS programs. techniques that will be expected QUICK FACTS ACTING ESSENTIALS from you on set. THIS IS YOUR INDUSTRY Vancouver is a world hub of DURATION: Each time you step in front of the production, and your instructors 4 MONTHS camera at VFS, you’re building are here as both mentors and first your career and deepening your industry connections.
    [Show full text]
  • 77.5 Hours of Original Primetime Programming 20.5 LGBT-Inclusive Hours
    Network Responsibility Index Primetime Programming 2008-2009 A SPECIAL REPORT FROM THE GAY & LESBIAN ALLIANCE AGAINST DEFAMATION www.glaad.org Executive Summary The GLAAD Network Responsibility Index Eastern and Pacific (7:00 Central and Mountain) and ends at is an evaluation of the quantity and qual- 11:00 pm Eastern and Pacific (10:00 Central and Mountain), Monday through Saturday. On Sunday, primetime begins at ity of images of lesbian, gay, bisexual and 7:00 pm Eastern and Pacific (6:00 Central and Mountain). Wotransgenderrds (LGBT) people on television.and It Fox and TheImages CW do not air network programming during is intended to serve as a road map towards the last hour of primetime. increasing fair, accurate and inclusive LGBT media representations. The sampling of the 10 cable networks examined for the 2008-2009 report includes networks that appeared on Niels- GLAAD has seen time and time again how images of en Media Research’s list of top basic and premium cable multi-dimensional gay and transgender people on televi- networks as of June 2008. This list includes, alphabetically: sion have the power to change public perceptions. In A&E, FX, HBO, Lifetime, MTV, Sci Fi, Showtime, TBS, November 2008, GLAAD commissioned the Pulse of TNT and USA. The original primetime programs on these Equality Survey, conducted by Harris Interactive, which 10 networks were examined from June 1, 2008 – May 31, confirmed a growing trend toward greater acceptance 2009, for a combined total of 1,212.5 hours. Because of among the American public. Among the 19% who reported the re-airing and re-purposing of cable programming, only that their feelings toward gay and lesbian people have be- first-run broadcasts of original programs were counted when come more favorable over the past five years, 34% cited evaluating cable programming.
    [Show full text]