Introduction to the Complete Directory to Prime Time Network and Cable TV Shows
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Back Listeners: Locating Nostalgia, Domesticity and Shared Listening Practices in Contemporary Horror Podcasting
Welcome back listeners: locating nostalgia, domesticity and shared listening practices in Contemporary horror podcasting. Danielle Hancock (BA, MA) The University of East Anglia School of American Media and Arts A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy January 2018 Contents Acknowledgements Page 2 Introduction: Why Podcasts, Why Horror, and Why Now? Pages 3-29 Section One: Remediating the Horror Podcast Pages 49-88 Case Study Part One Pages 89 -99 Section Two: The Evolution and Revival of the Audio-Horror Host. Pages 100-138 Case Study Part Two Pages 139-148 Section Three: From Imagination to Enactment: Digital Community and Collaboration in Horror Podcast Audience Cultures Pages 149-167 Case Study Part Three Pages 168-183 Section Four: Audience Presence, Collaboration and Community in Horror Podcast Theatre. Pages 184-201 Case Study Part Four Pages 202-217 Conclusion: Considering the Past and Future of Horror Podcasting Pages 218-225 Works Cited Pages 226-236 1 Acknowledgements With many thanks to Professors Richard Hand and Mark Jancovich, for their wisdom, patience and kindness in supervising this project, and to the University of East Anglia for their generous funding of this project. 2 Introduction: Why Podcasts, Why Horror, and Why Now? The origin of this thesis is, like many others before it, born from a sense of disjuncture between what I heard about something, and what I experienced of it. The ‘something’ in question is what is increasingly, and I believe somewhat erroneously, termed as ‘new audio culture’. By this I refer to all scholarly and popular talk and activity concerning iPods, MP3s, headphones, and podcasts: everything which we may understand as being tethered to an older history of audio-media, yet which is more often defined almost exclusively by its digital parameters. -
Perkins, Anthony (1932-1992) by Tina Gianoulis
Perkins, Anthony (1932-1992) by Tina Gianoulis Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2007 glbtq, Inc. Reprinted from http://www.glbtq.com The life and career of actor Anthony Perkins seems almost like a movie script from the times in which he lived. One of the dark, vulnerable anti-heroes who gained popularity during Hollywood's "post-golden" era, Perkins began his career as a teen heartthrob and ended it unable to escape the role of villain. In his personal life, he often seemed as tortured as the troubled characters he played on film, hiding--and perhaps despising--his true nature while desperately seeking happiness and "normality." Perkins was born on April 4, 1932 in New York City, the only child of actor Osgood Perkins and Janet Esseltyn Rane. His father died when he was only five, and Perkins was reared by his strong-willed and possibly abusive mother. He followed his father into the theater, joining Actors Equity at the age of fifteen and working backstage until he got his first acting roles in summer stock productions of popular plays like Junior Miss and My Sister Eileen. He continued to hone his acting skills while attending Rollins College in Florida, performing in such classics as Harvey and The Importance of Being Earnest. Perkins was an unhappy young man, and the theater provided escape from his loneliness and depression. "There was nothing about me I wanted to be," he told Mark Goodman in a People Weekly interview. "But I felt happy being somebody else." During his late teens, Perkins went to Hollywood and landed his first film role in the 1953 George Cukor production, The Actress, in which he appeared with Spencer Tracy. -
An Analysis of Hegemonic Social Structures in "Friends"
"I'LL BE THERE FOR YOU" IF YOU ARE JUST LIKE ME: AN ANALYSIS OF HEGEMONIC SOCIAL STRUCTURES IN "FRIENDS" Lisa Marie Marshall A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2007 Committee: Katherine A. Bradshaw, Advisor Audrey E. Ellenwood Graduate Faculty Representative James C. Foust Lynda Dee Dixon © 2007 Lisa Marshall All Rights Reserved iii ABSTRACT Katherine A. Bradshaw, Advisor The purpose of this dissertation is to analyze the dominant ideologies and hegemonic social constructs the television series Friends communicates in regard to friendship practices, gender roles, racial representations, and social class in order to suggest relationships between the series and social patterns in the broader culture. This dissertation describes the importance of studying television content and its relationship to media culture and social influence. The analysis included a quantitative content analysis of friendship maintenance, and a qualitative textual analysis of alternative families, gender, race, and class representations. The analysis found the characters displayed actions of selectivity, only accepting a small group of friends in their social circle based on friendship, gender, race, and social class distinctions as the six characters formed a culture that no one else was allowed to enter. iv ACKNOWLEDGMENTS This project stems from countless years of watching and appreciating television. When I was in college, a good friend told me about a series that featured six young people who discussed their lives over countless cups of coffee. Even though the series was in its seventh year at the time, I did not start to watch the show until that season. -
Commission Meeting of NEW JERSEY GENERAL AVIATION STUDY COMMISSION
Commission Meeting of NEW JERSEY GENERAL AVIATION STUDY COMMISSION LOCATION: Committee Room 16 DATE: March 27, 1996 State House Annex 10:00 a.m. Trenton, New Jersey MEMBERS OF COMMISSION PRESENT: John J. McNamara Jr., Esq., Chairman Linda Castner Jack Elliott Philip W. Engle Peter S. Hines ALSO PRESENT: Robert B. Yudin (representing Gualberto Medina) Huntley A. Lawrence (representing Ben DeCosta) Kevin J. Donahue Office of Legislative Services Meeting Recorded and Transcribed by The Office of Legislative Services, Public Information Office, Hearing Unit, State House Annex, CN 068, Trenton, New Jersey TABLE OF CONTENTS Page Dennis Yap DY Consultants representing Trenton-Robbinsville Airport 2 John F. Bickel, P.E. Township Engineer Oldmans Township, New Jersey 24 Kristina Hadinger, Esq. Township Attorney Montgomery Township, New Jersey 40 Donald W. Matthews Mayor Montgomery Township, New Jersey 40 Peter Rayner Township Administrator Montgomery Township, New Jersey 42 Patrick Reilly Curator Aviation Hall of Fame and Museum 109 Ronald Perrine Deputy Mayor Alexandria Township, New Jersey 130 Barry Clark Township Administrator/ Chief Financial Officer Readington Township, New Jersey 156 Benjamin DeCosta General Manager New Jersey Airports Port Authority of New York and New Jersey 212 APPENDIX: TABLE OF CONTENTS (continued) Page “Township of Readington Resolution” submitted by Barry Clark 1x mjz: 1-228 (Internet edition 1997) PHILIP W. ENGLE (Member of Commission): While we are waiting for Jack McNamara, why don’t we call this meeting of the New Jersey General Aviation Study Commission to order. We will have a roll call. Abe Abuchowski? (no response) Assemblyman Richard Bagger? (no response) Linda Castner? (no response) Huntley Lawrence? Oh, he is on the way. -
Literariness.Org-Mareike-Jenner-Auth
Crime Files Series General Editor: Clive Bloom Since its invention in the nineteenth century, detective fiction has never been more pop- ular. In novels, short stories, films, radio, television and now in computer games, private detectives and psychopaths, prim poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fiction. Every aspect of crime writing, detective fiction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. Titles include: Maurizio Ascari A COUNTER-HISTORY OF CRIME FICTION Supernatural, Gothic, Sensational Pamela Bedore DIME NOVELS AND THE ROOTS OF AMERICAN DETECTIVE FICTION Hans Bertens and Theo D’haen CONTEMPORARY AMERICAN CRIME FICTION Anita Biressi CRIME, FEAR AND THE LAW IN TRUE CRIME STORIES Clare Clarke LATE VICTORIAN CRIME FICTION IN THE SHADOWS OF SHERLOCK Paul Cobley THE AMERICAN THRILLER Generic Innovation and Social Change in the 1970s Michael Cook NARRATIVES OF ENCLOSURE IN DETECTIVE FICTION The Locked Room Mystery Michael Cook DETECTIVE FICTION AND THE GHOST STORY The Haunted Text Barry Forshaw DEATH IN A COLD CLIMATE A Guide to Scandinavian Crime Fiction Barry Forshaw BRITISH CRIME FILM Subverting -
Anthology Drama: the Case of CBS Les Séries Anthologiques Durant L’Âge D’Or De La Télévision Américaine : Le Style Visuel De La CBS Jonah Horwitz
Document generated on 09/26/2021 8:52 a.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Visual Style in the “Golden Age” Anthology Drama: The Case of CBS Les séries anthologiques durant l’âge d’or de la télévision américaine : le style visuel de la CBS Jonah Horwitz Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 Despite the centrality of a “Golden Age” of live anthology drama to most histories of American television, the aesthetics of this format are widely URI: https://id.erudit.org/iderudit/1015184ar misunderstood. The anthology drama has been assumed by scholars to be DOI: https://doi.org/10.7202/1015184ar consonant with a critical discourse that valued realism, intimacy and an unremarkable, self-effacing, functional style—or perhaps even an “anti-style.” See table of contents A close analysis of non-canonical episodes of anthology drama, however, reveals a distinctive style based on long takes, mobile framing and staging in depth. One variation of this style, associated with the CBS network, flaunted a virtuosic use of ensemble staging, moving camera and attention-grabbing Publisher(s) pictorial effects. The author examines several episodes in detail, demonstrating Cinémas how the techniques associated with the CBS style can serve expressive and decorative functions. The sources of this style include the technological limitations of live-television production, networks’ broader aesthetic goals, the ISSN seminal producer Worthington Miner and contemporaneous American 1181-6945 (print) cinematic styles. 1705-6500 (digital) Explore this journal Cite this article Horwitz, J. (2013). Visual Style in the “Golden Age” Anthology Drama: The Case of CBS. -
EMPOWERMENT JOURNAL Gogo Bebe Great!Great!
EMPOWERMENT JOURNAL GoGo BeBe Great!Great! 10-WEEK SAMPLE (Learn more about the full 40-week journal at www.BelieveInYou.com) NAME SCHOOL GRADE Your personal empowerment story. Choose how to share your greatness! EMPOWERMENT /noun/ The process of becoming stronger and more confident, especially in controlling one’s life and claiming one’s rights. STUDENTS HAVE THE RIGHT TO… • live optimistically. • act on positive motivation. • live with respect for self and others. • communicate with a unique voice. • make choices about how to share their greatness. THIS IS YOUR STORY Go Be Great! “Reach high, for the stars lie hidden in your soul.” – Langston Hughes What is an empowerment journal? This journal is your guide to unlocking greatness. Within every living thing there is greatness, and every example of greatness is unique. Your greatness must look different from someone else’s greatness.The world depends on this uniqueness. On the pages of this journal, you will discover the gifts you bring with you each and every day. You’ll build the confidence and skills that you’ll use to unlock your greatness. You will build self-awareness skills, like recognizing and discussing your emotions. You’ll learn self-management strategies that will help you stay motivated and focused. You will think about social awareness as you work to respect the unique greatness of your classmates and friends. You’ll work to build trusting relationships with positive communication and encouraging words. And you will practice decision-making that will allow you to share your greatness with the world. This work won’t be easy. -
President Richard Nixon's Daily Diary, July 16-31, 1969
RICHARD NIXON PRESIDENTIAL LIBRARY DOCUMENT WITHDRAWAL RECORD DOCUMENT DOCUMENT SUBJECT/TITLE OR CORRESPONDENTS DATE RESTRICTION NUMBER TYPE 1 Manifest Helicopter Passenger Manifest 7/30/1969 A 2 Manifest Helicopter Passenger Manifest from Don- 7/30/1969 A Maung Airport, Bangkok 3 Manifest Helicopter Passenger Manifest – 7/23/1969 A Appendix “B” 4 Manifest Helicopter Passenger Manifest – 7/24/1969 A Appendix “A” 5 Manifest Helicopter Passenger Manifest – 7/26/1969 A Appendix “B” 6 Manifest Helicopter Passenger Manifest – 7/27/1969 A Appendix “A” COLLECTION TITLE BOX NUMBER WHCF: SMOF: Office of Presidential Papers and Archives RC-3 FOLDER TITLE President Richard Nixon’s Daily Diary July 16, 1969 – July 31, 1969 PRMPA RESTRICTION CODES: A. Release would violate a Federal statute or Agency Policy. E. Release would disclose trade secrets or confidential commercial or B. National security classified information. financial information. C. Pending or approved claim that release would violate an individual’s F. Release would disclose investigatory information compiled for law rights. enforcement purposes. D. Release would constitute a clearly unwarranted invasion of privacy G. Withdrawn and return private and personal material. or a libel of a living person. H. Withdrawn and returned non-historical material. DEED OF GIFT RESTRICTION CODES: D-DOG Personal privacy under deed of gift -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------- NATIONAL ARCHIVES AND RECORDS ADMINISTRATION *U.S. GPO; 1989-235-084/00024 NA 14021 (4-85) rnc.~IIJc.I'" rtIl."I'\ttU 1"'AUI'4'~ UAILJ UIAtU (See Travel Record for Travel Activity) ---- -~-------------------~--------------I PLACi-· DAY BEGA;'{ DATE (Mo., Day, Yr.) JULY 16, 1969 TIME DAY THE WHITE HOUSE - Washington, D. -
Andy Rooney Risked His Life to Report Some Of
Andy Rooney risked his life to report some of the most dramatic events of World War II, but he only became famous decades later for joking about the quirks of everyday life. Andrew Aitken Rooney was born in Albany on January 14, 1919. While he attended the Albany Academy Andy worked as a newspaper copy boy, delivering stories from reporters’ typewriters to the editors’ desks. He dreamed of being a football star when he enrolled at Colgate University. Once he recognized his limits as an athlete, Rooney grew more interested in creative writing and journalism. His career plans were interrupted when he was drafted into the military in May 1941. After basic training in Fort Bragg, North Photo courtesy of the Times Union, Carolina, Rooney was assigned to the 17th Field Albany, NY Artillery Regiment. When the U.S. entered World War II, the 17th was stationed in Great Britain. Rooney wrote a weekly newsletter for the regiment before he was transferred to the main military newspaper, Stars and Stripes. He became part of the “Writing 69th,” a group of war correspondents who ew on Air Force bombing missions over Germany. Some of his colleagues died with their crews. He co-authored Air Gunner, an account of these dangerous missions, in 1944. Later, Rooney was one of the rst U.S. war correspondents to see evidence of the Holocaust in captured Nazi concentration camps. After the war ended, Rooney didn’t become a full-time journalist. He joined the CBS radio and television network in 1949 as a writer for Arthur Godfrey’s Talent Scouts, an entertainment program. -
Blacks Reveal TV Loyalty
Page 1 1 of 1 DOCUMENT Advertising Age November 18, 1991 Blacks reveal TV loyalty SECTION: MEDIA; Media Works; Tracking Shares; Pg. 28 LENGTH: 537 words While overall ratings for the Big 3 networks continue to decline, a BBDO Worldwide analysis of data from Nielsen Media Research shows that blacks in the U.S. are watching network TV in record numbers. "Television Viewing Among Blacks" shows that TV viewing within black households is 48% higher than all other households. In 1990, black households viewed an average 69.8 hours of TV a week. Non-black households watched an average 47.1 hours. The three highest-rated prime-time series among black audiences are "A Different World," "The Cosby Show" and "Fresh Prince of Bel Air," Nielsen said. All are on NBC and all feature blacks. "Advertisers and marketers are mainly concerned with age and income, and not race," said Doug Alligood, VP-special markets at BBDO, New York. "Advertisers and marketers target shows that have a broader appeal and can generate a large viewing audience." Mr. Alligood said this can have significant implications for general-market advertisers that also need to reach blacks. "If you are running a general ad campaign, you will underdeliver black consumers," he said. "If you can offset that delivery with those shows that they watch heavily, you will get a small composition vs. the overall audience." Hit shows -- such as ABC's "Roseanne" and CBS' "Murphy Brown" and "Designing Women" -- had lower ratings with black audiences than with the general population because "there is very little recognition that blacks exist" in those shows. -
By Jennifer M. Fogel a Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy
A MODERN FAMILY: THE PERFORMANCE OF “FAMILY” AND FAMILIALISM IN CONTEMPORARY TELEVISION SERIES by Jennifer M. Fogel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in The University of Michigan 2012 Doctoral Committee: Associate Professor Amanda D. Lotz, Chair Professor Susan J. Douglas Professor Regina Morantz-Sanchez Associate Professor Bambi L. Haggins, Arizona State University © Jennifer M. Fogel 2012 ACKNOWLEDGEMENTS I owe my deepest gratitude to the members of my dissertation committee – Dr. Susan J. Douglas, Dr. Bambi L. Haggins, and Dr. Regina Morantz-Sanchez, who each contributed their time, expertise, encouragement, and comments throughout this entire process. These women who have mentored and guided me for a number of years have my utmost respect for the work they continue to contribute to our field. I owe my deepest gratitude to my advisor Dr. Amanda D. Lotz, who patiently refused to accept anything but my best work, motivated me to be a better teacher and academic, praised my successes, and will forever remain a friend and mentor. Without her constructive criticism, brainstorming sessions, and matching appreciation for good television, I would have been lost to the wolves of academia. One does not make a journey like this alone, and it would be remiss of me not to express my humble thanks to my parents and sister, without whom seven long and lonely years would not have passed by so quickly. They were both my inspiration and staunchest supporters. Without their tireless encouragement, laughter, and nurturing this dissertation would not have been possible. -
TV NATIONAL HONOREES 60 Minutes: the Chibok Girls (60
TV NATIONAL HONOREES 60 Minutes: The Chibok Girls (60 Minutes) Clarissa Ward (CNN International) CBS News CNN International News Magazine Reporter/Correspondent Abby McEnany (Work in Progress) Danai Gurira (The Walking Dead) SHOWTIME AMC Actress in a Breakthrough Role Actress in a Leading Role - Drama Alex Duda (The Kelly Clarkson Show) Fiona Shaw (Killing Eve) NBCUniversal BBC AMERICA Showrunner – Talk Show Actress in a Supporting Role - Drama Am I Next? Trans and Targeted Francesca Gregorini (Killing Eve) ABC NEWS Nightline BBC AMERICA Hard News Feature Director - Scripted Angela Kang (The Walking Dead) Gender Discrimination in the FBI AMC NBC News Investigative Unit Showrunner- Scripted Interview Feature Better Things Grey's Anatomy FX Networks ABC Studios Comedy Drama- Grand Award BookTube Izzie Pick Ibarra (THE MASKED SINGER) YouTube Originals FOX Broadcasting Company Non-Fiction Entertainment Showrunner - Unscripted Caroline Waterlow (Qualified) Michelle Williams (Fosse/Verdon) ESPN Films FX Networks Producer- Documentary /Unscripted / Non- Actress in a Leading Role - Made for TV Movie Fiction or Limited Series Catherine Reitman (Workin' Moms) Mission Unstoppable Wolf + Rabbit Entertainment (CBC/Netflix) Produced by Litton Entertainment Actress in a Leading Role - Comedy or Musical Family Series Catherine Reitman (Workin' Moms) MSNBC 2019 Democratic Debate (Atlanta) Wolf + Rabbit Entertainment (CBC/Netflix) MSNBC Director - Comedy Special or Variety - Breakthrough Naomi Watts (The Loudest Voice) Sharyn Alfonsi (60 Minutes) SHOWTIME