For Defy Media's Andy Signore, Building a Community Is Building a Brand
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
More Movies to See
More movies to see: Audience polls Casablanca (1942) was voted the greatest film by readers of the Los Angeles Daily News in 1997.[9] It is also regarded the "best Hollywood movie of all time" by the influential Leonard Maltin's Movie Guide.[10] On April 7, 2006, the Writers' Guild of America declared Casablanca's screenplay the best ever written.[11] Gone with the Wind (1939) was voted the favorite film of Americans in a poll undertaken by Harris Interactive in 2008, and again in a follow-up poll in 2014. In both instances Star Wars was ranked in second place.[12][13] Gone with the Wind was also picked as the best film for Best in Film: The Greatest Movies of Our Time.[14] Himala (Miracle) (1982) by Ishmael Bernal won the 2008 CNN Asia Pacific Screen Awards Viewers Choice as "Best Asia-Pacific Film of All Time" (voted for by thousands of film fans around the world).[15][16][17][18] Raise the Red Lantern (1991) was voted the best Asian film in another audience poll conducted by MovieMail in 2000. It was followed by The Apu Trilogy (1955–1959) at second place.[19] Schindler's List (1993) was voted the best film ever made by the German film magazine Cinema.[20] Seven Samurai (1954) was voted #1 in an audience poll conducted by MovieMail in 2000. It was followed by The Third Man (1949) in second place.[19] Star Wars (1977) and its sequel The Empire Strikes Back (1980) were chosen as the greatest films by readers of Empire magazine in November 2001 and by voters in a Channel 4 (Film4) poll.[21] Star Wars is also the highest ranking sci-fi film in both versions of the American Film Institute's list of the 100 greatest movies of all time (ranked #15 in the original list, and #13 in the updated list). -
(Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age
The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Bogna Kazur aus Lodz, Polen Göttingen 2018 Contents 1 Introduction ......................................................................................................................... 3 2 The Question of Medium Specificity in the Digital Age .................................................. 29 3 House of Leaves (2000) and the Uncanny Dawn of the Digital........................................ 39 3.1 Digital Paranoia: Arriving on Ash Tree Lane ........................................................... 39 3.2 Writing about House of Leaves ................................................................................. 43 3.3 Intermedial Overabundance: Taming House of Leaves ............................................. 49 3.4 An “Explicit” Approach to the Digital Age ............................................................... 54 3.5 What Kind of Movie is THE NAVIDSON RECORD? ..................................................... 68 4 In the Midst of the Post-Cinematic Age: Marisha Pessl’s Night Film (2013) .................. 88 4.1 Meant for Adaptation: Night Film and the Fallacy of First Impressions ................... 88 4.2 The Post-Cinematic Reception of Film ..................................................................... 96 4.3 The Last Enigma: Cordova’s Underworld .............................................................. -
Distracted Spectatorship, the Cinematic Experience and Franchise Films
Distracted Spectatorship, the Cinematic Experience and Franchise Films By Elizabeth Nichols BA, MA Lancaster University 2017 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy This thesis is my own work and has not been submitted in substantially the same form for the award of a higher degree elsewhere P a g e | ii Contents List of Figures ........................................................................................................................... iv Abstract ...................................................................................................................................... v Introduction: Distracted Spectatorship and the Cinematic Experience ..................................... 1 Chapter One: Defining the Cinematic Experience ................................................................... 17 Section One: Defining the Cinematic ................................................................................... 17 Section Two: Defining Experience ...................................................................................... 22 Chapter Two: Defining Distracted Spectatorship .................................................................... 37 Section One: Defining Spectatorship ................................................................................... 37 Section Two: Defining Distraction ....................................................................................... 49 Section Three: Defining Distracted Spectatorship Throughout -
M Ov Ie Sand E N Te Rta in Ment
Equity Research L O S ANGELES | S A N FRANCISCO | NEW Y O R K | B O S T O N | C H IC A GO | MINNEAPOLIS | MILWAUKEE | SEATTLE Movies and Entertainment October 31, 2016 Michael Pachter Alicia Reese Nick McKay (213) 688-4474 (212) 938-9927 (213) 688-4343 [email protected] [email protected] [email protected] Biweekly Review -- A Look Ahead from Late October and Our Take on Current Events in the Film Exhibition, DVD, and VOD Industries • Q4 box office appears to be tracking down 16.0% year-over-year. October ended down ≈18%, with best performing films The Girl on the Train and The Accountant collectively grossing $127 million to date (with Metacritic scores of 48 and 51 respectively) facing a tough comparison to last year’s The Martian (which grossed $228 million, and was much more favorably reviewed with a Metacritic score of 80). Boo! A Madea Halloween appears to be performing better than expectations (grossing $52 million to date), likely benefitting from a fewer number of Halloween releases this year. Doctor Strange has reportedly grossed $86 million overseas, which bodes well for the film’s US and Chinese premieres this week. Despite the potential for any individual film to outperform our expectations however, the overall comparison for Q4 to last year remains a significantly high hurdle, facing the first Star Wars title in 10 years, the Hunger Games franchise finale, Daniels Craig’s last James Bond performance, and several successful Children’s films. We are thus maintaining our estimate for Q4 of down 8%. -
Classified by Genre: Rhetorical Genrefication in Cinema by © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St
Classified by Genre: Rhetorical Genrefication in Cinema By © 2019 Carl Joseph Swanson M.A., Saint Louis University, 2013 B.L.S., University of Missouri-St. Louis, 2010 Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Catherine Preston Co-Chair: Joshua Miner Michael Baskett Ron Wilson Amy Devitt Date Defended: 26 April 2019 ii The dissertation committee for Carl Joseph Swanson certifies that this is the approved version of the following dissertation: Classified by Genre: Rhetorical Genrefication in Cinema Chair: Catherine Preston Co-Chair: Joshua Miner Date Approved: 26 April 2019 iii Abstract This dissertation argues for a rethinking and expansion of film genre theory. As the variety of media exhibition platforms expands and as discourse about films permeates a greater number of communication media, the use of generic terms has never been more multiform or observable. Fundamental problems in the very conception of film genre have yet to be addressed adequately, and film genre study has carried on despite its untenable theoretical footing. Synthesizing pragmatic genre theory, constructivist film theory, Bourdieusian fan studies, and rhetorical genre studies, the dissertation aims to work through the radical implications of pragmatic genre theory and account for genres role in interpretation, evaluation, and rhetorical framing as part of broader, recurring social activities. This model rejects textualist and realist foundations for film genre; only pragmatic genre use can serve as a foundation for understanding film genres. From this perspective, the concept of genre is reconstructed according to its interpretive and rhetorical functions rather than a priori assumptions about the text or transtextual structures. -
Julian Smith CS
Fabrizio Cilento What Julian Smith Hates (and Loves) About Facebook: Social Media Parody As Self-Promotion YouTube is the third most trafficked site on the Internet, after Google and Facebook. Each month over one billion unique users watch six billion hours of video, with one hundred hours of video being uploaded every minute. The YouTube Partner Program launched in 2007 has allowed more than a million creators to earn money from their YouTube videos, with the result that the number of people subscribing daily has more than tripled in the last year.1 As a consequence of this exponential acceleration of production and consumption, the modality through which users experience humor online has transformed, creating a scene of young comedians who are especially skilled in circulating their own content. Through the case study of humorist Julian Smith, this essay investigates what makes YouTube comedians/entrepreneurs successful. In order to understand and critique the channel juliansmith87 and its connections to various social media platforms, I adopt two strategies. On one hand, I focus on a specific video from the channel called 25 Things I Hate About Facebook; on the other I discuss the channel on a macro-level, looking at it from inception to current state. While 25 Things has not achieved the viral success of other videos by Smith,2 it created an aesthetic formula characterized by two elements: a self-reflexive approach to digital media and a high production value. Today Smith’s channel has an average of two and a half million views per video, with peaks of thirteen million, and his visual style has become widely imitated. -
Home Alone Hd Trailer
Home alone hd trailer Okay, I know, this is one stupid story, but it's developed into a wonderful family film, as enjoyable as it is. It might be dumb and corny, but I've actually liked this highly entertaining flick. The plot's unbelievable, but. Home Alone - Trailer (p). British Secret Agent Loading. THANK YOU FOR THE TRAILER IN SUCH. Eight-year-old Kevin McCallister (Macaulay Culkin) has become the man of the house, overnight! Accidentally. Home Alone (): Every kid's dream and every parent's nightmare. My family still talks about the day we. One of the original trailers for 'Home Alone'. See if you can tell which character in this trailer did NOT make. Home Alone 2 - HD Theatrical Trailer. randomstuff Home Alone 2: Lost in New York. Get it on. Home Alone | #TBT Trailer | 20th Century FOX. 20th Century Fox . Home Alone (5/5) Movie CLIP - Kevin. Home Alone - Released November Videos from your Murder on the Orient Express | Official Trailer 2 [HD] | 20th Century FOX · youtube play button Red. This is "A Girl Walks Home Alone at Night () - Official Trailer [HD] (1)" by Alex O'Flinn on Vimeo, the home for high quality videos and the. Home alone - Official Trailer HD. BRUCE ALMIGHTY () - Official Movie Trailer. – logo Home Alone Kevin McCallister, who is a 8-year- old boy, is forsaked at home while his family is on holiday in France. Home Alone. Trailer Quality: HD. Home Alone 3 Four high-tech industrial spies, Beaupre, Alice, Jernigan and Unger, Spies want to get the toy back before their clients get angry and decide to burglarize every house at Alex's street to find the chip. -
How Do Romanian Post-Millennials Behave on Youtube? a Comparative Analysis of Contemporary Online Cohorts
How Do Romanian Post-Millennials Behave on YouTube? A Comparative Analysis of Contemporary Online Cohorts Associate Professor Mirela ABRUDAN, PhD Department for Communication, PR and Advertising Faculty of Political, Administrative and Communication Sciences Babeş-Bolyai University, Cluj-Napoca, Romania E-mail: [email protected] Ștefan NEAGA Department for Communication, PR and Advertising Faculty of Political, Administrative and Communication Sciences Babeş-Bolyai University, Cluj-Napoca, Romania E-mail: [email protected] Abstract. The present paper aims to shed light on the consumer habits of Romanian Z Generation on YouTube, in order to allow a comparative analysis of contemporary cohorts’ online behavior at international level. YouTube is worldwide the most beloved and a constantly growing online video-sharing platform among youngsters of the new millennium. Us- ing questionnaires applied to Romanian post-millennial individuals, the study tries to figure out, in a quantitative manner, if emerging national tendencies reflect international trends regarding YouTube consumption. Keywords: Generation Z; YouTube; Romania; online consumer behavior; globalization. Journal of Media Research, DOI:10.24193/jmr.32.5 53 Vol. 11 Issue 3(32) / 2018, pp. 53-70 Published First Online: 2018/11/05 Introduction Globalization is the process of demographic, economic, ecological, political and mili- tary interconnections on a global scale where the intensive communication between peo- ple illustrates that never in the history of humankind the global connections had such a broad reach and deep impact on the selves and identities of an increasing number of people (Hermans & Hermans-Konopka 2010, 21). The emergence and continuous growth of the Internet, Web 2.0, social networking sites and online video-sharing plat- forms such as YouTube are the best example of how global connectedness is an innate desire of billions of individuals. -
Informe De Investigación
Instituto Universitario Nacional del Arte Transdepartamental de Crítica de Artes Lic. en Crítica de Artes Proyecto de graduación Profesores Silvina Tatavitto y Nicolás Bermúdez Informe de investigación Ma. Antonella Cozzi 34.840.417 -Agosto 2014- Indíce: 1. Críticos “broadcast yourself”: reconfiguraciones de la crítica cinematográfica a partir de YouTube. Parte I: el gesto crítico de la parodia de tráiler……………………………………………………………………………………...1 2. Estado de la cuestión y casuística .………………………………...………………......2 3. Análisis comparativo del fenómeno ……………………………………………….......5 4. Fuentes………………………………………………………………………………....9 5. Plan de medios………………………………………………………………………....12 6. Plan de producción de piezas críticas y/o de difusión……………………………........14 7. Anexos: 1, 2, 3, 4 (adjuntos independientes). ! ! Proyecto de graduación - Informe de investigación Ma. Antonella Cozzi Críticos “broadcast yourself”: reconfiguraciones de la crítica cinematográfica a partir de YouTube. Parte I: el gesto crítico de la parodia de tráilers Los portales de interacción web transformaron el modo de producir y consumir objetos artísticos. Del mismo modo, también interceptaron la producción crítica sobre ellos. ¿Existe una nueva crítica de cine a partir de YouTube? El servidor de videos YouTube, que se convirtió en el más popular de su especie, tiene una llegada tan masiva que, en sus cortos casi diez años de vida, ha resignificado el uso y la funcionalidad de la web, revolucionando el concepto mismo de “comunicación”. Bajo la premisa “Broadcast yourself” (“Transmite tú mismo”), YouTube se constituyó, entre otras cosas, como una práctica herramienta para la divulgación de material propio, no sólo por el acceso libre y la facilidad de su sistema de creación de canales de video, sino por el fenómeno de la llamada “viralización” en las redes sociales: el relinkeo de material (en este caso, un video) en millones de perfiles. -
M Ov Ie Sand E N Te Rta in Ment
Equity Research L O S ANGELES | S A N FRANCISCO | NEW Y O R K | B O S T O N | C H IC A GO | MINNEAPOLIS | MILWAUKEE | SEATTLE Movies and Entertainment January 9, 2017 Michael Pachter Alicia Reese Nick McKay (213) 688-4474 (212) 938-9927 (213) 688-4343 [email protected] [email protected] [email protected] Biweekly Review -- A Look Ahead from Early January and Our Take on Current Events in Film Exhibition and Video-On-Demand • Q4 box office ended down 3.5% year-over-year to $2.81 billion, while the year ended up 2.2% to $11.4 billion – the second consecutive domestic box office record. October was down 8.1% ($657 million), with the top five films grossing over $50 million each and collectively grossing $306 million during the month. October faced a difficult comparison from The Martian and Hotel Transylvania last year, which, along with number three Goosebumps , totaled $331 million for the month. November was up 7.6% ($959 million), with Doctor Strange, Fantastic Beasts, and Trolls leading the box office and all surpassing $100 million each. December was down 8.8% ($1.2 billion), with Rogue One: A Star Wars Story generating $408 million, compared to December 2015 when The Force Awakens earned $652 million. We expect solid box office growth in 2017, but expect a challenging start to the year given difficult comps in the first quarter. • Premium ticket comparisons were difficult in Q4 and we expect difficult comparisons to a lesser extent in Q1. In Figure 2 on page 3, we compare the top ten films in each quarter to the prior year’s quarter, denoting which was or will be available in IMAX or IMAX 3D. -
Program Book September 27-28, 2014
LONG BEACH COMIC CON LOGO 2014 PROGRAM BOOK SEPTEMBER 27-28, 2014 FEATURING: Mike & Laura Allred Sandy King Carpenter Amanda Conner Gerry Conway Bob Layton Mike Mignola James O’Barr Jimmy Palmiotti Marc Silvestri Richard Starkings and more! UM O Long Beach Comic Con is proudly sponsored by Scan this code with your phone to get the latest program book. LOLA XOXO ©2014 SIYA ©2014 SIYA LOLA XOXO welcomeletter elcome to the Sixth Annual Long Beach Comic Con! We hope you’ll agree that this year we’ve really pumped up the volume Won our programming, guests and exhibitors. We’re very proud STAFF to introduce our new Hero Complex Theater and our incredible Kids Programming that features a LEGO Fun Zone, laser tag, a gaming area MArtHA DONATO for the entire family, and much more! And don’t forget to visit Cosplay Executive Director Corner to see and hang out with some of your favorite costumed PHIL LAWRENCE characters. Sales Director This weekend, you’ll find some of most talented creators from the GABE FIERAMOSCO worlds of comics, animation and horror – all under one roof! Add to Marketing Manager that a fabulous blend of exhibitors from the comics and pop culture world, plus an array of entertainment that will keep you hoppin’ all STEVE HOVEKE day long. Security Director Keep in mind, Artist Alley is still the centerpiece of the exhibit floor. DAVID HYDE Don’t miss this unique chance to meet your favorite artists, writers and Press & Guest Relations creators as well as opportunities to discover new talent. -
Downloaded and Watched on Ever-Changing Screen Sizes, from Television to Mobile Phones
Kent Academic Repository Full text document (pdf) Citation for published version Kamm, Frances Alice (2015) 'A Mirror Image of Ourself'? The Technological Uncanny and the Representation of the Body in Early and Digital Cinema. Doctor of Philosophy (PhD) thesis, University of Kent. DOI Link to record in KAR http://kar.kent.ac.uk/59386/ Document Version UNSPECIFIED Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html 'A Mirror Image of Ourself'? The Technological Uncanny and the Representation of the Body in Early and Digital Cinema Frances Alice Kamm Submitted in fulfilment of the degree of Doctor of Philosophy Film Studies School of Arts University of Kent September 2015 Word Count: 97,366 ACKNOWLEDGEMENTS There are several people I would like to thank for their help in completing this project. First, a huge thank you goes to my supervisors Dr Tamar Jeffers McDonald and Dr Cecilia Sayad for all their help, support and encouragement with this work.