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Nomination Press Release
Elisabeth Moss as Peggy Olson Outstanding Lead Actor In A Drama Series Nashville • ABC • ABC Studios Connie Britton as Rayna James Breaking Bad • AMC • Sony Pictures Television Scandal • ABC • ABC Studios Bryan Cranston as Walter White Kerry Washington as Olivia Pope Downton Abbey • PBS • A Carnival / Masterpiece Co-Production Hugh Bonneville as Robert, Earl of Grantham Outstanding Lead Actor In A Homeland • Showtime • Showtime Presents, Miniseries Or A Movie Teakwood Lane Productions, Cherry Pie Behind The Candelabra • HBO • Jerry Productions, Keshet, Fox 21 Weintraub Productions in association with Damian Lewis as Nicholas Brody HBO Films House Of Cards • Netflix • Michael Douglas as Liberace Donen/Fincher/Roth and Trigger Street Behind The Candelabra • HBO • Jerry Productions, Inc. in association with Media Weintraub Productions in association with Rights Capital for Netflix HBO Films Kevin Spacey as Francis Underwood Matt Damon as Scott Thorson Mad Men • AMC • Lionsgate Television The Girl • HBO • Warner Bros. Jon Hamm as Don Draper Entertainment, GmbH/Moonlighting and BBC in association with HBO Films and Wall to The Newsroom • HBO • HBO Entertainment Wall Media Jeff Daniels as Will McAvoy Toby Jones as Alfred Hitchcock Parade's End • HBO • A Mammoth Screen Production, Trademark Films, BBC Outstanding Lead Actress In A Worldwide and Lookout Point in association Drama Series with HBO Miniseries and the BBC Benedict Cumberbatch as Christopher Tietjens Bates Motel • A&E • Universal Television, Carlton Cuse Productions and Kerry Ehrin -
The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes
Media Industries 5.2 (2018) The Fan/Creator Alliance: Social Media, Audience Mandates, and the Rebalancing of Power in Studio–Showrunner Disputes Annemarie Navar-Gill1 UNIVERSITY OF MICHIGAN amngill [AT] umich.edu Abstract Because companies, not writer-producers, are the legally protected “authors” of television shows, when production disputes between series creators and studio/ network suits arise, executives have every right to separate creators from their intellectual property creations. However, legally disempowered series creators can leverage an audience mandate to gain the upper hand in production disputes. Examining two case studies where an audience mandate was involved in overturning a corporate production decision—Rob Thomas’s seven-year quest to make a Veronica Mars movie and Dan Harmon’s firing from and subsequent rehiring to his position as the showrunner of Community—this article explores how the social media ecosystem around television rebalances power in disputes between creators and the corporate entities that produce and distribute their work. Keywords: Audiences, Authorship, Management, Production, Social Media, Television Scripted television shows have always had writers. For the most part, however, until the post-network era, those writers were not “authors.” As Catherine Fisk and Miranda Banks have shown in their respective historical accounts of the WGA (Writers Guild of America), television writers have a long history of negotiating the terms of what “authorship” meant in the context of their work, but for most of the medium’s history, the cultural validation afforded to an “author” eluded them.2 This began to change, however, in the 1990s, when the term “showrunner” began to appear in television trade press.3 “Showrunner” is an unofficial title referring to the executive producer and head writer of a television series, who acts in effect as the show’s CEO, overseeing the program’s story development and having final authority in essentially all production decisions. -
The Morning Line
THE MORNING LINE DATE: Tuesday, June 7, 2016 FROM: Melissa Cohen, Michelle Farabaugh Emily Motill PAGES: 19, including this page C3 June 7, 2016 Broadway’s ‘The King and I’ to Close By Michael Paulson Lincoln Center Theater unexpectedly announced Sunday that it would close its production of “The King and I” this month. The sumptuous production, which opened in April of 2015, won the Tony Award for best musical revival last year, and had performed strongly at the box office for months. But its weekly grosses dropped after the departure of its Tony-winning star, Kelli O’Hara, in April. Lincoln Center, a nonprofit, said it would end the production on June 26, at which point it will have played 538 performances. A national tour is scheduled to begin in November. The show features music by Richard Rodgers and book and lyrics by Oscar Hammerstein II. The revival is directed by Bartlett Sher. C3 June 7, 2016 No More ‘Groundhog Day’ for One Powerful Producer By Michael Paulson Scott Rudin, a prolific and powerful producer on Broadway and in Hollywood, has withdrawn from a much- anticipated project to adapt the popular movie “Groundhog Day” into a stage musical. The development is abrupt and unexpected, occurring just weeks before the show is scheduled to begin performances at the Old Vic Theater in London. “Groundhog Day” is collaboration between the songwriter Tim Minchin and the director Matthew Warchus, following their success with “Matilda the Musical.” The new musical is scheduled to run there from July 15 to Sept. 17, and had been scheduled to begin performances on Broadway next January; it is not clear how Mr. -
BOSTON Is More Than a Running Film. It Is a Timeless Story About Triumph Over Adversity for Runner and Non-Runner Alike. Film Sy
BOSTON is more than a running film. It is a timeless story about triumph over adversity for runner and non-runner alike. Film Synopsis BOSTON is the first ever feature-length documentary film about the world’s most legendary run- ning race – the Boston Marathon. The film chronicles the story of the iconic race from its humble origins with only 15 runners to the present day. In addition to highlighting the event as the oldest annually contested marathon in the world, the film showcases many of the most important moments in more than a century of the race’s history. from a working man’s challenge welcoming foreign athletes and eventually women bec me the stage for manyThe Bostonfirsts and Marathon in no small evolved part the event that paved the way for the modern into a m world-classarathon and event, mass participatory sports. Following the tragic events of. The 2013, Boston BOSTON Marathon a the preparations and eventual running of the, 118th Boston Marathon one year later when runners and community gather once again for what will be the most meaningful raceshowcases of all. for , together The production was granted exclusive documentary rights from the Boston Athletic Association to produce the film and to use the Association’s extensive archive of video, photos and memorabilia. Production Credits: Boston is presented by John Hancock Financial, in association with the Kennedy/Marshall Com- pany. The film is directed by award winning filmmaker Jon Dunham, well known for his Spirit of the Marathon films, and produced by Academy Award-nominee Megan Williams and Eleanor Bingham Miller. -
B R I a N K I N G M U S I C I N D U S T R Y P R O F E S S I O N a L M U S I C I a N - C O M P O S E R - P R O D U C E R
B R I A N K I N G M U S I C I N D U S T R Y P R O F E S S I O N A L M U S I C I A N - C O M P O S E R - P R O D U C E R Brian’s profile encompasses a wide range of experience in music education and the entertainment industry; in music, BLUE WALL STUDIO - BKM | 1986 -PRESENT film, television, theater and radio. More than 300 live & recorded performances Diverse range of Artists & Musical Styles UNIVERSITY OF SOUTHERN CALIFORNIA Music for Media in NYC, Atlanta, L.A. & Paris For more information; www.bluewallstudio.com • As an administrator, professor and collaborator with USC working with many award-winning faculty and artists, PRODUCTION CREDITS - PARTIAL LIST including Michael Patterson, animation and digital arts, Medeski, Martin and Wood National Medal of Arts recipient, composer, Morton Johnny O’Neil Trio Lauridsen, celebrated filmmaker, founder of Lucasfilm and the subdudes (w/Bonnie Raitt) ILM, George Lucas, and his team at the Skywalker Ranch. The B- 52s Jerry Marotta Joseph Arthur • In music education, composition and sound, with a strong The Indigo Girls focus on establishing relations with industry professionals, R.E.M. including 13-time Oscar nominee, Thomas Newman, and 5- Alan Broadbent time nominee, Dennis Sands - relationships leading to PS Jonah internships in L.A. and fundraising projects with ASCAP, Caroline Aiken BMI, the RMALA and the Musician’s Union local 47. Kristen Hall Michelle Malone & Drag The River Melissa Manchester • In a leadership role, as program director, recruitment Jimmy Webb outcomes aligned with career success for graduates Col. -
Dan Harmon and the #Metoo Apology
Journal of Contemporary Rhetoric, Vol. 9, No.3/4, 2019, pp. 112-125. “Redemption Follows Allocution”: Dan Harmon and the #MeToo Apology Ben Wetherbee This article analyzes comedian and TV writer Dan Harmon’s famously well-received #MeToo-era apology for sexual misconduct on the set of his sitcom Community, noting how Harmon revises the traditionally individualistic genre of the apology into a statement of advocacy for the collective moral imperative of the #MeToo movement. After discussing #MeToo as a rhetorical situation that justifiably trivializes pleas for individual forgiveness, the article analyzes Har- mon’s monologue in relation to scholarship on genre of apologia, contrasting Harmon’s with the comparatively indi- vidualistic and unsuccessful apology of Louis C.K and arguing that traditional apologies prove ill-suited to the #Me- Too era. I contend, finally, that male speakers seeking redemption for sexual misconduct should heed Harmon’s ex- ample of sustained critical self-reflection, pronounced advocacy for victims, and sustained cultivation of an ethos that merits redemption. Keywords: #MeToo, apology, apologia, allocution, Dan Harmon, rhetorical situation, differentiation, transcendence, characterological coherence The #MeToo movement hit peak momentum in late 2017, a year that saw sexual assault allegations mount against figures like Harvey Weinstein, Louis C.K., Matt Lauer, Garrison Keillor, Charlie Rose, Kevin Spacey, and a long list of other male celebrities—all of which, let us recall, succeeded the inauguration of a president who had nonchalantly boasted about grabbing women’s genitals before garnering 306 electoral votes.1 The comedian and writer Dan Harmon fittingly dubbed 2017 “the Year of the Asshole.” Taking to Twitter on New Year’s Eve of that year, the creator and former showrunner of NBC’s sitcom Community and co-creator of the Adult Swim animated series Rick and Morty offered this bit of self-deprecating, understated humor: “This was truly the Year of the Asshole. -
Aesthetics, Taste, and the Mind-Body Problem in American Independent Comics
PAPER TOWER: AESTHETICS, TASTE, AND THE MIND-BODY PROBLEM IN AMERICAN INDEPENDENT COMICS William Timothy Jones A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2014 Committee: Jeremy Wallach, Advisor Esther Clinton © 2014 William Timothy Jones All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Comics studies, as a relatively new field, is still building a canon. However, its criteria for canon-building has been modeled largely after modernist ideas about formal complexity and criteria for disinterested, detached, “objective” aesthetic judgment derived from one of the major philosophical debates in Western thought: the mind-body problem. This thesis analyzes two American independent comics in order to dissect the aspects of a comic work that allow it to be categorized as “art” in the canonical sense. Chris Ware’s Building Stories is a sprawling, Byzantine comic that exhibits characteristically modernist ideas about the subordination of the body to the mind and art’s relationship to mass culture. Rob Schrab’s Scud: The Disposable Assassin provides a counterpoint to Building Stories in its action-heavy stylistic approach, developing ideas about the merging of the mind and the body and the artistic and the commercial. Ultimately, this thesis advocates for a re -evaluation of comics criticism that values the subjective, emotional, and the popular as much as the “objective” areas of formal complexity and logic. iv ACKNOWLEDGMENTS To Anna O’Brien, for the original germ of this idea and hours of enlightening conversation and companionship. To Jeremy Wallach and Esther Clinton, whose emphatic response to the paper that eventually became this thesis was instrumental to my belief in the quality of my work. -
Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected]
Clemson University TigerPrints All Dissertations Dissertations 12-2016 Ironic Feminism: Rhetorical Critique in Satirical News Kathy Elrick Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Recommended Citation Elrick, Kathy, "Ironic Feminism: Rhetorical Critique in Satirical News" (2016). All Dissertations. 1847. https://tigerprints.clemson.edu/all_dissertations/1847 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IRONIC FEMINISM: RHETORICAL CRITIQUE IN SATIRICAL NEWS A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication, and Information Design by Kathy Elrick December 2016 Accepted by Dr. David Blakesley, Committee Chair Dr. Jeff Love Dr. Brandon Turner Dr. Victor J. Vitanza ABSTRACT Ironic Feminism: Rhetorical Critique in Satirical News aims to offer another perspective and style toward feminist theories of public discourse through satire. This study develops a model of ironist feminism to approach limitations of hegemonic language for women and minorities in U.S. public discourse. The model is built upon irony as a mode of perspective, and as a function in language, to ferret out and address political norms in dominant language. In comedy and satire, irony subverts dominant language for a laugh; concepts of irony and its relation to comedy situate the study’s focus on rhetorical contributions in joke telling. How are jokes crafted? Who crafts them? What is the motivation behind crafting them? To expand upon these questions, the study analyzes examples of a select group of popular U.S. -
Interview with Asa Taccone from Electric Guest
Interview with Asa Taccone from Electric Guest By artistically fusing both vintage and contemporary aesthetics, Los Angeles indie soul act Electric Guest brings a unique groove. Frontman Asa Taccone has a velvety and soulful voice that reaches different levels of vocal range while Matthew “Cornbread” Compton creates electronically fueled beats and rhythms. It’s a melding of Motown swagger with modern pop and an abundance of substance. While a lot of their contemporaries seem to lack something, Taccone and Compton convey sounds that come complete in full force. It’s what makes this duo one of the top up-and-coming music groups of the 2010s. With Brooklyn indie pop wonders Chaos Chaos opening things up, Electric Guest will take the upstairs stage at the Columbus Theatre in Providence’s west end on March 4. Before the show I had a chat with Taccone about the band’s latest album, Plural, the songwriting partnership he has with Compton, growing tired of hip-hop, being a former writer for “Saturday Night Live” and what we can expect from Electric Guest for the rest of the year. Rob Duguay: Electric Guest are Plural on February 17. It’s the follow-up to the band’s critically acclaimed debut, Mondo, that came out in 2012. Did you feel any pressure while making the new album in the studio and what did you do differently with Plural versus what you did with Mondo? Asa Taccone: There was definitely pressure. It was part of the reason why it took so damn long for Plural to come out. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
Sean Callery
SEAN CALLERY AWARDS / NOMINATIONS EMMY AWARD Jessica Jones Outstanding Original Main Title Theme Music (2016) EMMY AWARD NOMINATION Minority Report Outstanding Music Composition For A Series, Original Dramatic Score (2016) EMMY AWARD NOMINATION 24: Live Another Day Outstanding Music Composition For A Limited Series, Movie or a Special (2015) ASCAP AWARD TV Composer of the Year (2015) EMMY AWARD NOMINATION Elementary Outstanding Original Main Title Theme Music (2013) EMMY AWARD NOMINATION Homeland Outstanding Original Main Title Theme Music (2012) ONLINE FILM & TELEVISION Homeland ASSOCIATION Best Music in a Series (2002) HOLLYWOOD MUSIC IN MEDIA Bones NOMINATION (2011) Best Original Score for Television EMMY AWARD NOMINATION The Kennedys Outstanding Original Main Title Theme Music (2011) GEMINI NOMINATION (2011) The Kennedys Best Original Music Score for a Dramatic Program, Mini-Series or TV Movie EMMY AWARD 24 Outstanding Music Composition for a Series (2010 & 2006, 2003) The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 SEAN CALLERY EMMY AWARD NOMINATION 24: Redemption Outstanding Music Composition for a Miniseries, Movie or Special (2009) EMMY AWARD NOMINATION 24 Outstanding Music Composition for a Series (2009, 2007, 2005, 2004, 2003, 2002) INTERNATIONAL FILM MUSIC 24 CRITICS ASSOCIATION NOMINATION (2006) Best Original Score for Television EMMY AWARD NOMINATION Star Trek: Deep Space Nine Outstanding Individual Achievement in Sound Editing for a Series (1993) *shared TELEVISION SERIES DOUBT (series) Tony Phelan, Joan Rater, Sarah Timberman, Carl CBS Beverly, Adam Bernstein, exec prods. 24: LEGACY (pilot & series) Kiefer Sutherland, Stephen Hopkins, Howard Gordon, 20 TH Century Fox Brian Grazer, Evan Katz, Robert Cochran, exec. prods. Evan Katz, Manny Coto, showrunners DESIGNATED SURVIVOR (pilot & David Guggenheim, Kiefer Sutherland, Mark series) Gordon, Simon Kinberg, Suzan Bymel, Aditya ABC / Mark Gordon Company Sood, Amy Harris, exec. -
Horse with No Name” Paul Zollo - the Origins of the Iconic, Enigmatic Anthem, in His Own Words It’S One of the Most Famously Mysterious Songs Ever to Become a Hit
APRIL 3, 2020 Link to article: https://americansongwriter.com/behind-the-song-horse-with-no-name/ Behind The Song: America, “Horse With No Name” Paul Zollo - The Origins of the Iconic, Enigmatic Anthem, In His Own Words It’s one of the most famously mysterious songs ever to become a hit. It’s got enigma baked into it, which may be part of its lasting magic. Like Lennon’s “Norwegian Wood,” and other great though cryptic songs, it doesn’t fill in the entire picture, leaving it instead up to the listener to do that on their own. All of its components enhance this dynamic of hypnotic mystery. There’s the swampy/mystic tone of the track, ethereal yet visceral, just acoustic guitars, bass and conga with no drums. The vocal is delivered as if from a storyteller spinning an ancient mythic tale, not performing as much as testifying, and in language that resounds like coded poetry. We’re in motion the entire time, days are passing, and the heat is relentless. Elemental symbols are everywhere like images from a perplexingly real dream – a dry riverbed, appointed with plants and birds and rocks and things, and incessant sound. And, of course, there’s that mysterious horse, the one with no name, which did forever force the question: Why? Why didn’t anyone name this horse? In search of answers, we turned to the songwriting source himself, Dewey Bunnell, who spoke to us on the phone last week, the final week of March, 2020, at the start of the mandatory stay-at-home orders in California.