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Does the Primetime Television Upfront Still Matter? by Steve Sternberg
May 2019 #62 __________________________________________________________________________________________ _____ Does the Primetime Television Upfront Still Matter? By Steve Sternberg For American television viewers, the start of the new primetime television season is still four months away. For insiders at media agencies, networks, and advertisers, however, the Upfront season is placing thoughts of September squarely into May. Of course, the very idea of a fall TV season in today’s video world seems old fashioned. The broadcast networks might still adhere to fall and mid-season schedules for debuting new shows, but their competitors do not. Ad-supported cable networks premiere many new series when the broadcast nets are airing repeats and some limited-run series (mostly non-sweeps months and the summer). Premium cable networks, such as HBO, Showtime, and Starz, air new shows throughout the year. Streaming services, such as Netflix and Amazon Prime, release full seasons of new series whenever they happen to be ready. CBS All Access does as well, although it releases new episodes on a weekly schedule, rather than all at once. In a television landscape of 10-episode cable series, and streaming services where you can binge- watch entire seasons, viewers don’t necessarily think in terms of TV seasons anymore. Nevertheless, the broadcast networks still hold onto a schedule that starts in the fall. Throughout April and May, cable and broadcast networks give presentations to the ad industry in which they unveil their fall schedules and discuss -
EUROPEAN TV DRAMA SERIES LAB Programme Application TESTIMONIALS
CONTACT www.tv-lab.eu Nadja Radojevic Head of International Training – Erich Pommer Institut [email protected] Testimonials A project by T: +49 (0)331 721 28 85 “The TV Lab’s own writers’ room became this sizzling pot F: +49 (0)331 721 28 81 Erich Pommer Institut (Germany) of focused, directed creativity, where a handful of writers Försterweg 2, 14482 Potsdam, Germany in just three days broke and created an original pilot idea The Erich Pommer Institut is one of Europe’s leading centers for www.epi-medieninstitut.de with obvious commercial and artistic potential. Most of media law, media management and media research. As a non-profit all, I was amazed on how effective it was, and how daring independent institute, our studies follow the process of media convergence through research, consultation and advanced training. you can be if you eliminate the fear of failure, and focus A project by In association with on the thrill of creation.” Each year, EPI organises and hosts around 40 seminars, workshops, Trygve Allister Diesen, Writer VARG VEUM, conferences and panels – for the European, the Canadian as well as Director KOmmissARIE WINTER, Tenk.tv, Norway the US-American media industry. TV Lab Alumni 2012 www.epi-medieninstitut.de “This kind of training is essential for Europe’s television future. It’s given me the information In association with and process I need for a wider perspective on With the support of the MEDIA 2007 Programme of the European Union what I am doing. I made crucial gains from this MediaXchange (UK) training: networking – new points of view and Based in London and LA, MediaXchange is a media consultancy helpful comparisons to my work processes.” EUROPEAN with a 20 year history assisting entertainment industry professionals Michaela Strnad, Writer PERFECT WORLD, to develop effective knowledge, contacts and business drawn from Film & Roll, Czech Republic our unique global perspective. -
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. -
Download the Word Farm 2016 Program
Word Farm 2016 Students Aubrie Amstutz Phalguni Laishram Joe Arciniega Gustavo Melo December Brown Claudia Niles Charlotte Burns Mia Roncati Derek Buss Melvin Singh Isabelle Carasso Corine Toren Christopher Connor Mel Weisberger Brendan Dassey Sydney Wiklund Phoebe DeLeon Dwight Yao Phi Do Julia Dumas Sylvia Garcia Gustavo A. Gonzalez Christine Hwynh Jae Hwan Kim Class Schedule Friday, January 29 9:00 Coffee & Snacks Sign-In 10:00-12:00 Session 1 Bryce & Jackie Zabel Tom Lazarus 12:00-1:00 Lunch 1:00-3:00 Session 2 David Gerrold Mitchell Kreigman Saturday, January 24 9:00 Coffee & Snacks 10:00-12:00 Session 3 Cheri Steinkellner J Kahn 12:00-1:00 Lunch 1:00-3:00 Session 4 Matt Allen & Lisa Mathis Dean Pitchford 3:00-3:30 Snacks 3:30-5:30 Session 5 Anne Cofell Saunders Toni Graphia 6:30 Dinner Annenberg Conference Room - 4315 SSMS Sunday, January 25 9:00 Coffee & Snacks 10:00-12:00 Session 6 Glenn Leopold Kevin McKiernan 12:00-1:00 Lunch 1:00-3:00 Session 7 Amy Pocha Allison Anders 3:00-3:30 Snacks 3:30-5:00 Session 8 Omar Najam & Mia Resella Word Farm Bios Allison Anders Allison Anders is an award-winning film and television writer and director. She attended UCLA film school and in 1984 had her first professional break working for her film mentor Wim Wenders on his movie Paris, Texas (1984). After graduation, Anders had her first film debut,Border Radio (1987), which she co-wrote and co-directed with Kurt Voss. -
Hourglass 01-17-07 .Indd
SSwimmerwimmer JJaredared HHeineeine wwillill bbee ppartart ooff tthehe fi rrstst MMarshallarshall IIslandsslands OOlympiclympic tteameam aandnd wwillill ccompeteompete iinn tthehe 22008008 ggamesames aatt BBeijing.eijing. FForor mmore,ore, sseeee PPageage 44.. ((PhotoPhoto bbyy JJJJ KKlein)lein) The Kwajalein Hourglass www.smdc.army.mil/KWAJ/Hourglass/hourglass.html EEditorialditorial Commander updates community on transition It’s the beginning of a new year, and USAKA has received direction from I’d like to give you an update on the the Space and Missile Defense Com- transition team’s progress. mand commanding general that it During the Kwaj Town Hall Meeting must realign its business practices and in November, I stated that I would be mission execution to accommodate briefi ng the results of the transition RDO enabled by installation of a fi ber team’s work to our higher authority. I optic network between Kwajalein and asked you to wait and not make any Guam. career-changing decisions until you As a result of that guidance, and get the result of those briefi ngs. Dr. with the input of multiple study groups, Rodney Robertson has approved the USAKA received budget guidance in using the Lean Six Sigma model to af- recommended course of action at his November that indicated a reduction fect effi ciencies in current operations. level. Michael Schexnayder will re- in funding is inevitable for future fi scal Some of the areas we’re looking at or ceive a briefi ng in the month of March. years. planning to look at are warehousing My transition team looked at four The new plan includes funding (ongoing), intra-atoll transportation possible courses of action and came the Reagan Test Site to a level that (ongoing), retail facility consolidation, to the conclusion that the best course provides for the execution of the RDO housing footprint reduction, Roi opera- of action is to implement full range dis- and provides for continued opera- tions, community activities operations, tributed operations and continue with tion, maintenance, improvement and and a personnel policy review. -
'Nothing but the Truth': Genre, Gender and Knowledge in the US
‘Nothing but the Truth’: Genre, Gender and Knowledge in the US Television Crime Drama 2005-2010 Hannah Ellison Submitted for the degree of Doctor of Philosophy (PhD) University of East Anglia School of Film, Television and Media Studies Submitted January 2014 ©This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior, written consent. 2 | Page Hannah Ellison Abstract Over the five year period 2005-2010 the crime drama became one of the most produced genres on American prime-time television and also one of the most routinely ignored academically. This particular cyclical genre influx was notable for the resurgence and reformulating of the amateur sleuth; this time remerging as the gifted police consultant, a figure capable of insights that the police could not manage. I term these new shows ‘consultant procedurals’. Consequently, the genre moved away from dealing with the ills of society and instead focused on the mystery of crime. Refocusing the genre gave rise to new issues. Questions are raised about how knowledge is gained and who has the right to it. With the individual consultant spearheading criminal investigation, without official standing, the genre is re-inflected with issues around legitimacy and power. The genre also reengages with age-old questions about the role gender plays in the performance of investigation. With the aim of answering these questions one of the jobs of this thesis is to find a way of analysing genre that accounts for both its larger cyclical, shifting nature and its simultaneously rigid construction of particular conventions. -
A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina
The Forum April 2020 Without a Trace: A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina Paige Calabrese J.D. Candidate, SMU Dedman School of Law, 2021; Staff Editor for the International Law Review Association Find this and additional student articles at: https://smulawjournals.org/ilra/forum/ Recommended Citation Paige Calabrese, Without a Trace: A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina, ________________ (2020) https://smulawjournals.org/ilra/forum/. This article is brought to you for free and open access by The Forum which is published by student editors on The International Law Review Association in conjunction with the SMU Dedman School of Law. For more information, please visit: https://smulawjournals.org/ilra/. Without a Trace: A Comparative Analysis of How Transitional Justice Methods Address Enforced Disappearances in Spain & Argentina By: Paige Calabrese Fall 2019 When a country is plagued with civil war, dictatorship, or extreme internal unrest, governments can become pressured to take aggressive measures to maintain order and establish power, including abducting citizens believed to be threats to their power. This phenomenon of government-orchestrated civilian abductions is known as “enforced disappearance,” and it leaves damage that endures long after the conflict or dictatorship has come to an end. While many countries have histories checkered with this practice, two countries stand out because of the remedial provisions they have enacted in their transitions to democracy: Spain and Argentina. Spain is often criticized for not taking effective remedial action, but Argentina is frequently praised for its aggressive prosecution of former government officials involved in perpetrating civilian abductions. -
EU Page 01 COVER.Indd
JACKSONVILLE ENING! ffashionashion sshowshows OP aandnd vvintageintage sswapswaps eentertainingntertaining u nnewspaperewspaper free weekly guide to entertainment and more | september 28-october 4, 2006 | www.eujacksonville.com 2 september 28-october 4, 2006 | entertaining u newspaper on the cover: photo by Carlos Hooper | model Jane Gilcrease | table of contents clothes by Laura Ryan feature Pump It Up ...................................................................................... PAGE 17 Fresh Fashion at Cafe 11 ................................................................. PAGE 18 Up and Cummers Fashion Show ...................................................... PAGE 19 movies The Guardian (movie review) ............................................................. PAGE 6 Movies In Theatres This Week ....................................................PAGES 6-10 Seen, Heard, Noted & Quoted ............................................................ PAGE 7 School For Scoundrels (movie review) ............................................... PAGE 8 Fearless (movie review)..................................................................... PAGE 9 Open Season (movie review) ........................................................... PAGE 10 at home Kinky Boots (DVD review) ............................................................... PAGE 12 Studio 60 On The Sunset Strip (TV review) ...................................... PAGE 13 Men In Trees (TV review) ................................................................. PAGE -
UNITED STATES SECURITIES and EXCHANGE COMMISSION Washington, D.C
UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 10-K ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the fiscal year ended December 31, 2009 OR o TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 For the transition period from to Commission File Number 001-09553 CBS CORPORATION (Exact name of registrant as specified in its charter) DELAWARE 04-2949533 (State or other jurisdiction of (I.R.S. Employer incorporation or organization) Identification Number) 51 W. 52nd Street New York, NY 10019 (212) 975-4321 (Address, including zip code, and telephone number, including area code, of registrant's principal executive offices) Securities Registered Pursuant to Section 12(b) of the Act: Name of Each Exchange on Title of Each Class Which Registered Class A Common Stock, $0.001 par value New York Stock Exchange Class B Common Stock, $0.001 par value New York Stock Exchange 7.625% Senior Debentures due 2016 American Stock Exchange 7.25% Senior Notes due 2051 New York Stock Exchange 6.75% Senior Notes due 2056 New York Stock Exchange Securities Registered Pursuant to Section 12(g) of the Act: None (Title of Class) Indicate by check mark if the registrant is a well-known seasoned issuer (as defined in Rule 405 of the Securities Act of 1933). Yes ☒ No o Indicate by check mark if the registrant is not required to file reports pursuant to Section 13 or Section 15(d) of the Securities Exchange Act of 1934. -
Veronica Mars, Spinster...Old Maid
EXT. CAMELOT MOTEL - NIGHT Music cue: Air’s “La Femme D’Argent.” ANGLE on a rain-streaked, neon-reflecting motel window. Through gauzy curtains we see the SILHOUETTES OF LOVERS heaving toward climax with all the romantic finesse normally associated with Soviet farm equipment. VERONICA (V.O.) I’m never getting married. A middle-aged FAT MAN wearing a cheap, too-short, faux- Japanese robe and nothing else crosses through the frame carrying an ICE BUCKET. VERONICA (V.O.) (CONT'D) You want an absolute? A sure thing? Well, there it is. Veronica Mars, spinster...old maid. Carve it in stone. CRANE SHOT follows man down a flight of exterior motel steps. VERONICA (V.O.) (CONT’D) I mean, come on. What’s the point? Sure, there’s that initial primal drive...hormonal surge...whatever you want to call it. Ride it out. Better yet, ignore it... As the man reaches the ground floor level and heads toward the ICE MACHINE next to the motel office, shot widens and includes the wet blacktop of the parking lot and the flickering neon of the CAMELOT MOTEL sign. VERONICA (CONT'D) ...Sooner or later, the people you love betray you. As the man crosses back toward his room, CAMERA STOPS on the door to the first floor ROOM 8. As the CAMERA PUSHES IN on the keyhole... VERONICA (V.O.) (CONT’D) And here’s where it ends up -- fat men, cocktail waitresses, cheap motels on the wrong side of town. REVERSE ANGLE on a nondescript sedan parked on the street facing the motel. -
Impact of Grey Seals in the Herring Gillnet Fishery Along the Swedish
ICES CM 2005/X:12 Working paper may not be cited without prior reference to the authors Impact of grey seals in the herring gillnet fishery along the Swedish Baltic coast Sara Königson, Arne Fjälling and Sven-Gunnar Lunneryd Institute of Coastal Research, Swedish Board of Fisheries, Contact author: Sara Königson, Institute of Coastal Research, Swedish Board of Fisheries, Box 423, 401 26 Göteborg, Sweden tel: +46 31 7430422 email: [email protected] The gillnet fishery for herring Clupea harengus in the Baltic Sea is subjected to intense damages by grey seals, Halichoerus grypus. Fishing takes place mainly during spring and autumn. Damage caused by seal peak in late autumn and for which reason fishery during this part of the year has more or less disappeared. In this study we investigated the hidden damage, i.e. the amount of fish completely removed from nets without a trace as well as the catch losses due to the presence of seals. Observers joined a commercial fisherman on his regular fishing trips. Catch and damaged fish were noted and systematic observations for seals were carried out during every fishing occasion. On some fishing trips herring was caught in a 30 meter long net of commercial type. All fish was then marked, without being removed from the net. The net was thereafter reset and linked to the local fisherman’s gear. The percentage of marked fish that was damaged or missing the next day, was used as an indication that seals had visited the nets. If a large part of the marked fish were missing it was concluded that seals had visited the nets. -
My Friend Dahmer
presents MY FRIEND DAHMER Written and Directed By Marc Meyers Starring Ross Lynch, Anne Heche, Alex Wolff, Dallas Roberts, Miles Robbins, Tommy Nelson, Vincent Kartheiser 107 minutes – Rated R Official Selection Tribeca Film Festival 2017 *World Premiere* Los Angeles Film Festival 2017 Frameline Film Festival 2017 Fantasia Film Festival 2017 BFI London Film Festival 2017 Deauville American Film Festival 2017 Sitges Film Festival 2017 Press Contact: ID PR [email protected] 212-334-0333 For downloadable publicity materials, go to: www.filmrise.com/film/my-friend-dahmer - press-kit MY FRIEND DAHMER Short Synopsis Jeffrey Dahmer murdered 17 men and boys in the American Midwest, becoming one of history’s most infamous serial killers. This is the story before that story. Jeff (Disney Channel’s Ross Lynch) is an awkward teenager struggling to make it through high school with a family life in ruins. His bizarre behavior at school attracts unexpected friends, a group of band-nerds who form The Dahmer Fan Club, headed by Derf Backderf (Alex Wolff, PATRIOTS DAY). But as they near graduation, Jeff’s depravity continues to take hold, and he spirals further out of control. Based on Backderf’s critically acclaimed 2012 graphic novel and written for the screen and directed by Marc Meyers, MY FRIEND DAHMER is the haunting, sad, funny, true story of Jeffrey Dahmer in high school. Long Synopsis Jeffrey Dahmer murdered 17 men and boys in the Midwest United States between 1978 and 1991 before being captured and incarcerated. He would become one of America’s most infamous serial killers.