A televisual Eisenhower switches to a man promoting orange juice.
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It meant that my televisual Cordon Bleu was slightly sedate—slightly quiet.
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The league is as much a televisual enterprise as an athletic one.
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For anyone who associates documentaries with televisual blandness, the films here argue otherwise.
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Even the grayish, televisual camerawork helps to lend the movie a documentary feel.
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As cinema either theatrical or televisual is concerned, "The Kissing Booth" is negligible.
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The show's offbeat storytelling rhythms and antiheroic main character spread across the vast televisual landscape.
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Jettisoned from network TV in 2014, kids' shows are now in a kind of televisual diaspora.
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How could the public appreciate this heroic struggle without works of art, especially televisual ones, depicting it?
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They're arguably the best televisual content currently available, and Marvel wants in on that red-hot market.
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If you want to get a little more medieval about it, you could talk about a televisual feast.
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It is a form of democracy in the televisual age, but it hardly improves the quality of the debate.
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MEMORIES OF THE televisual offerings of Christmases past tend to heighten the moments of brilliance and erase the humdrum.
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I'd like to blame my lack of televisual role models for how benighted I was about what marriage truly entails.
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So intensely televisual is this novel that in reviewing it, I've been unable to resist the temptation to cast it.
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Part of the deluge seems to stem from audiences' never-ending quest for "authenticity," the desire for meticulous televisual world building.
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Over the 64 matches, the average live audience was 191 million: each game was a global televisual event in its own right.
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I'm rewatching The O.C. because it is the greatest televisual experience of the 218090st century, and my coworker gave me her Hulu information.
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Mr. Trump has a knack for creating just enough bizarre spectacle that newsroom producers feel it would be televisual malpractice to cut away.
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Trump sees the world through a televisual lens; he seems to get more information from Fox News than from his daily intelligence briefings.
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As he did with last year's nomination of Justice Gorsuch, Mr. Trump chose the shank of the televisual evening for his official announcement.
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Between this unwanted spectacle and his awkward endorsement of Donald J. Trump, Mr. Ryan has been a televisual dictionary of discomfort this political season.
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"Us and Them," a Chinese romantic drama that was a box-office hit in May, also has a look that's more cinematic than televisual.
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No stranger, too, to televisual celebrity is Ann Widdecombe, once a British Conservative minister and campaigner for Catholic religious morality and against some gay rights.
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He said that Eurovision venues began placing guidelines on flags in 2012 in Baku, Azerbaijan, as large flags were taking away from the televisual experience.
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Looming behind this genre is "Lost," the televisual Rubik's Cube that popularized the idea that a story requires not just an ending but an answer.
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Riker indefatigably charts the American psyche decade by decade, as the "televisual world" gradually becomes "yet another victim of this world's inexhaustible capacity for exhausting itself."
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The Bavarian lacks televisual charisma, has no executive experience and has alienated centrists and centre-leftists with his long association with Viktor Orban, Hungary's authoritarian prime minister.
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Think of it as the televisual complement to the assaults on Trump's character and business record being touted by Mitt Romney, John McCain, and other anxious Republican leaders.
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It started badly, as it became increasingly apparent that Jeremy Clarkson's disregard for basic politeness would no longer be a feature of the televisual jewel in our crown, Top Gear.
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For me and for many of my contemporaries back in the early 1990s, Jerry's self-consciously televisual apartment-world reflected the semantic landscape in which we were coming-of-age.
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He got out in front of caricaturists by mocking himself (and his opponents) while simultaneously understanding how to "star" in a televisual campaign and deftly time a one-liner during a debate.
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This televisual confection is ideal to watch post-Thanksgiving feast, when you're so stuffed it won't make you hungry, plus, everyone's so polite, even the competitive aspects of the show won't stress you out.
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And it seems as though the televisual riches will continue to abound in 2018, as last night the first trailer for the new season of Atlanta, the official Best Show on TV™, aired.
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Beck produced 20 programs, regularly broadcasted on Manhattan Cable Television, that showcased durational performances and appropriated material from television shows and commercials that would interrupt viewers' expected televisual experience because of the bizarre and unfamiliar content.
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In bringing them all together, the show is creating a televisual space to stage the complexities of gender and desire that can come with queer dating and that are rarely seen on television — or in pop culture, period.
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"Sir" received broadly positive reviews, with Hollywood Reporter's Jordan Mintzer saying that despite as times feeling more televisual than cinematic, "Gera has nonetheless crafted a warmly nuanced look at love in a place filled with constraints and contradictions".
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It can control the smart lighting in your home, call a taxi, search for information, and also schedule actions such as turning on the TV at the correct time for you to watch the next episode of your favorite televisual entertainment.
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In many cases, the rise of televisual culture created problems much worse than anything they could've imagined, and an approach to politics-as-entertainment that would've read like parody if they had included it as a thought experiment in their books.
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In an op-ed for The Washington Post on Saturday entitled, "Get ready for a four-year-long pageant," Harvard University political theorist Danielle Allen observed that "Trump has seen that in our televisual age politics is importantly a matter of performance."
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And when I re-watch the Powerpuff Girls, I notice how they were, as silly as it sounds for a children's cartoon, sort of televisual feminist pioneers, in that they were three undoubtedly feminine characters who were completely unbound by gender constructs.
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"Rotten Tomatoes critic score (Season 1): 66%What critics said: "The combination of campy visuals and scrambled structure that an episodic, televisual format allows makes for a striking viewing experience, and one that takes myths into our contemporary era in a new way.
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"Rotten Tomatoes critic score (Season 1): 67%What critics said: "The combination of campy visuals and scrambled structure that an episodic, televisual format allows makes for a striking viewing experience, and one that takes myths into our contemporary era in a new way.
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We all must have been very, very good this year, because the Goddess has seen fit to bless us yet again with Bachelorette hometowns — the once-a-season televisual event bringing Americans together like the Super Bowl, the moon landing, and the Ford Bronco chase.
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But a continuous feed of show after show, a thematically decremented flow of televisual paste, would undivide my time back into a simpler act: Watching TV. Consuming culture, whether in a half-remembered rerun, a favorite movie, or something that just looks like it might be good.
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Movies have been taking a backseat to TV shows at Comic-Con for a few years now, but you need look no further than the cornucopia of televisual goodness that was released at this year's SDCC to get a sense of just how definitively the tide has turned.
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Though it has raised his profile the most, Queer Eye was not his first televisual venture: since 2013, he has also hosted the Game of Thrones recap web-series Gay of Thrones on Funny or Die, on which he calls Daenerys "Christina Aguilera," among other services to the community.
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But another thing that makes Planet Earth the televisual behemoth it is is the iconic music, as supplied by Icelandic post-rockers Sigur Rós, and the band has now shared a new version of their ultra-atmospheric track "Hoppípolla" which is used as part of the soundtrack for series two.
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With his adaption of the popular fiction podcast Homecoming (a show mostly written by the podcast's creators, Eli Horowitz and Micah Bloomberg), Esmail again plays with the elements of televisual storytelling, fiddling with the audio mix, the size of the frame, and the placement of the camera, as he tells an eerie, split-timeline tale about a shady, off-the-books program to rehabilitate returning soldiers.
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"A done deal". Televisual (Televisual Media UK): p. 31 (archived at AccessMyLibrary. Retrieved 7 November 2008).
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The Daily Telegraph, in 2019, called Minipops an "all- round televisual travesty".
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"Great Ovation" was also featured in the Bruton Music album Televisual which was released in 1984.
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Potter undertook the following roles from her screen and televisual debut in 1993, to the present day.
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Televisual (Televisual Media UK). Retrieved 4 June 2011 (archived by WebCite on 5 June 2011). As of 2010, Morrissey and Tubedale Films were developing two feature films with financing from the UK Film Council. Morrissey was critical of the Coalition government's decision to close the UK Film Council, as he believed it was an asset to first-time filmmakers.
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To address Stiegler's question would mean, Derrida says, knowing what one means by the market in a world in which there is an increasingly "globalised" circulation of televisual commodities.
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Dors received excellent reviews for her work. The series is described by the author and historian Mark Lewisohn as being "inventive ... truly televisual and not just a radio programme in costume".
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18 May 2016 music videos, short films, digital content,"C4 unveils new look idents and typefaces". Televisual, 30 September 2015. art installations and feature films."Sundance Hit THE HALLOW to Hit Select Theaters This November".
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Additionally, Manchester City will provide the team's head coach as well as their tactical direction. The show is broadcast on 30 platforms, both televisual and digital, notably on Guangdong TV as well as online via Tencent Sports.
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Collins left the BBC with a strong desire to see the establishment of a televisual competitor to the corporation, which since the 1920s had held a complete monopoly on broadcasting in the UK, both radio and television.
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Retrieved on 23 March 2015. Earl starred in the mini-series Ben Earl: Trick Artist, which ran for 4 episodes on British public-service station Channel 4."Magician Ben Earl gets C4 series with Magnum Media", Televisual, 19 November 2012. Retrieved on 23 March 2015.
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Dillistone has written articles for several professional publications, including Televisual, AV Magazine, Kodak's magazine and Exposure. He co-authored the academic paper "A comparison of perceptions of quality of life among adults with spinal cord injury in the United States versus the United Kingdom".
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Twofour held the title Best Indie Production Company in 2010 and 2014, and secured 1st place in Televisual Magazine's True Indie Survey 2013. The company has been awarded several IVCA and RTS awards. In 2013, triple BAFTA-nominated Educating Essex won a Broadcast Award for Best Documentary Series.
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TouchVision was an American digital broadcast and internet Video on demand television network that was owned by Think Televisual. The service provided rolling news coverage that was distributed to television, mobile and tablet platforms. TouchVision's operations were based out of the headquarters of Weigel Broadcasting in Chicago, Illinois.
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The Sunday Times Magazine (Times Newspapers): pp. 6–7. General reaction improved as the first year went on. At the conclusion of the first series, Andrew Billen compared it with Vanity Fair in the Evening Standard and was pleased that it offered a televisual outlet for the "forgotten" twentysomethings.Billen, Andrew (15 December 1998).
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It operates in tandem with the dominant code. "It serves to reproduce the dominant definitions precisely by bracketing the hegemonic quality, and operating with professional codings which relate to such questions as visual quality, news and presentational values, televisual quality, 'professionalism' etc."Hall 1973, p. 16. The third way of encoding is the negotiated code.
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Richards's choices consisted of his favourite 1960s comedy shows, cartoons and thrillers, interspersed with interviews, rare musical performances and night imagery. This 'televisual journey' was the first of its kind on British TV. Temple also directed a documentary, The Origin of the Species, about Richards's childhood in post-war England and his musical roots.
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2016 also saw Two Brothers Pictures launch their comedy Fleabag on BBC Three and Amazon written by and starring Phoebe Waller-Bridge. Fleabag's first series received numerous awards, including; BAFTA TV (Female Performance in a Comedy), Televisual (Best Comedy), Writers Guild of Great Britain (Best TV Sitcom), RTS (Best Breakthrough, Best Comedy Writer), Chortle (Best TV Comedy), BPG (Best Writer), Broadcast (Best Multichannel, Best Original Programme) and NME (Best TV Series) as well as receiving more nominations for Golden Nymphs, BAFTA Craft, C21, BPG, Critics Choice, Broadcast Digital, Rockie Awards, Broadcast, Televisual, British Film Designers Guild, RTS Craft and BAFTA Craft Programmes include Liar, conspiracy thriller Strangers (originally titled White Dragon), Cheat and The Widow for ITV, and Rellik and Baptiste for BBC One. Two Brothers Pictures joined the All3Media Group in 2017.
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The girls take jobs as cowgirls on the ranch in an effort to raise enough money to return home. This was the first full-length television musical, and was presented on the DuMont Television Network in 1944. The television presentation of the musical was sponsored by Esquire magazine. Manning appeared earlier in that year on DuMont's Key-Bored Televisual Presentations as a pianist.
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Torvill & Dean is a British televisual biopic written by William Ivory, directed by Gillies MacKinnon, and broadcast on ITV on Christmas Day 2018. It is about the early life and careers of Jane Torvill and Christopher Dean, the Nottinghamshire ice dancers went on to record a perfect score and win the Olympic gold medal in Sarajevo at the 1984 Winter Olympics.
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The Ministry of Cultural Affairs (; Sanskr̥ti biṣaẏaka mantraṇālaẏa) is a ministry of the Government of People's Republic of Bangladesh, in charge of national museums and monuments; promoting and protecting the arts (visual, plastic, theatrical, musical, dance, architectural, literary, televisual and cinematographic) in Bangladesh and managing the national archives. The Ministry of Cultural Affairs is also charged with maintaining the Bengali identity.
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The two-part episode which saw Jayne face the hospital's Board of Directors, as well as the national media over the separation surgery of the conjoined Tan twins proved popular with critics, and was selected as a televisual 'Pick of the Day' by The Western Mail, Daily Record, the Huddersfield Daily Examiner, the Sunday Mercury, the Daily Mirror, and the Liverpool Echo.
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The site's critics consensus reads, "Stephen King's televisual adaption of his own novel is more faithful than its cinematic counterpart, but unfortunately this miniseries is hobbled by a drab literalism of the text and cheesy effects that diminish the scares." Drew Grant of The New York Observer, in 2014, ranked the miniseries as the worst made-for-TV King adaptation.
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CM3 was a single camera vehicle based on a Renault Master van and was similar to modern SNG vehicles. The TV OB Fleet was the first to succumb to the accountants’ spreadsheet logic, and its demise was the first tangible indicator of Pebble Mill’s televisual decline. The vehicles were sold off in 1992 despite being some of the most efficiently scheduled of the BBC’s entire OB Fleet.
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To promote the storyline, the Seven Network issued two televisual advertisements which were broadcast on their station. They began airing in August advertising the start date for the storyline. The first showed Summer Bay in a calm setting with a warning of The Great Storm arriving. While the other profiled previous disaster style storylines which Home and Away had featured, with the addition of The Great Storm.
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Mendelson's most recent television situation comedy series in the UK is My Hero which ran for six seasons on BBC One from February 2000 to September 2006. Based on his own experiences with testicular cancer he wrote the acclaimed ITV play Losing It, starring Martin Clunes, for which he was nominated Televisual Awards Best Writer 2007. Having also survived prostate cancer, Mendelson is actively involved in cancer awareness charities and events.
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Simon Martin entered the field of Mayanist research with a professional background in graphic design. He attended the Royal College of Art in London during the 1980s, completing his Master's in Communication Arts in 1987.Inomata & Houston (2001, p.279); West (2004) As a professional designer he worked in televisual media into the mid-1990s, for production companies designing visual elements and programmed content for TV, film and commercials.
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In either case, the operator is granted access to real, though remote, places via televisual tools. As technologies progressed, the need for an expanded term arose. Sheridan extrapolated Minsky’s original definition. Using the shorter “presence,” Sheridan explained that the term refers to the effect felt when controlling real world objects remotely as well as the effect people feel when they interact with and immerse themselves in virtual reality or virtual environments.
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"She'd like to teach the world to sing". The Times, May 2, 2010, accessed March 6, 2012"Meme Comes to Life", Transmedia Televisual Studies, FILM345, Queens University, February 2010 "Miranda" is supposedly a home-schooled young woman who still lives with her mother and uncle; she is eccentric and infantilized, narcissistically believes that she was born famous, and is obsessed with show business fame.Velasco, Schuyler. "Interview: Miranda Sings" , Backstage, August 3, 2010Rivera, Erica.
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He continued to pen Lupin tales well into the 1930s. Leblanc also wrote two notable science fiction novels: Les Trois Yeux (1919), in which a scientist makes televisual contact with three-eyed Venusians, and Le Formidable Evènement (1920), in which an earthquake creates a new landmass between England and France. Leblanc was awarded the Légion d'Honneur for his services to literature, and died in Perpignan in 1941. He was buried in the Montparnasse Cemetery.
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This in turn led to the increased allocation of government funding in 1994 to produce Yamba's Playtime, which was the station's first in-house televisual production. Yamba's Playtime features the station's official mascot, "Yamba". Also in 1994, the Imparja board of directors established the Imparja Business Development Sub Committee, to monitor and provide strategic recommendations for areas of growth for the company. In 1995, Imparja received the Telstra Indigenous Business Award for Business of the Year.
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Australian Screen Editors (ASE) was founded in 1996 by Henry Dangar (who became its first president) and Jenny Ward. The guild is "dedicated to the pursuit and recognition of excellence in the arts, sciences and technology of motion picture and televisual post production. It aims to promote, improve and protect the role of editor as an essential and significant contributor to all screen productions."ASE: Who we are The current President of ASE is Fiona Strain.
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They still produce the televisual element of the show today. Katharine Mainprize and James Ward took on the role of GNA Trading Ltd directors. Joel Perry of Mondiale Publishing became more involved with the organisation following the first concert and worked closely on elements of the second show with Dave Lawrence, the production manager. He negotiated the official blessing of then Prime Minister Tony Blair (who wrote an introduction to the official programme opposite Tony Wilson).
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Welsh said that the use of machinery became problematic during filming so additional dialogue recordings were added to the scenes during post-production. The storyline was promoted by the Seven Network and overseas broadcaster Channel 5, in the form of televisual adverts. One of the serial's cast members revealed that one character would die in the disaster, but details were kept under wraps until transmission. The storyline follows the struggle the characters encounter when the storm hits.
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Retrieved 1 October 2014."BBCS&PP; renews Deal or No Deal at Bottle Yard" Televisual, 1 October 2014. Retrieved 1 October 2014. In early 2014, the Studios hosted production of US pilot Galavant.Barraclough, Leo. "ABC Studios to shoot Galavant in the UK benefiting from new TV tax credit" Variety, 20 December 2013. Retrieved 1 October 2014. It was later confirmed that The Bottle Yard Studios would host the production of the full series of Galavant in Summer 2014.
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Researchers said views were influenced by the televisual infosphere. In the three days following the incident, the Russian Internet Research Agency "troll farm" posted 111,486 tweets from fake accounts. Mostly posted in Russian, the tweets initially said the rebels had shot down a Ukrainian airplane, but quickly switched to accusing Ukraine of carrying out the attack. Conversely, the liberal Russian opposition newspaper Novaya Gazeta shortly after the crash published a headline in Dutch that read "Vergeef ons, Nederland" ("Forgive Us, Netherlands").
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Thierry Michel has drawn criticism for lack of analysis in his documentaries. Katanga Business lets the images and people in the film tell the story, as in a drama, rather than providing explanations of causes and effects. His Iran, sous le voile des apparences was said to take the propaganda of president Mohammad Khatami at face value. A reviewer described Mobutu roi du Zaïre as more cinematographic than televisual, with a tension between the factual investigation and the artistic creation.
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5, p. 26 In 1981 the Montrose Basin Nature Reserve was created. Angus Council, "Nature Reserve Comes of Age", 20 June 2002 The Scottish Wildlife Trust operates a modern, purpose-built wildlife centre at Rossie Braes, which offers good telescopic and televisual views of the area, and of the thousands of migratory birds which pass through the area in all seasons. In summer, one might see the osprey which hunts along the length of the Basin, or a kingfisher flitting past.
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The show went out live at 9:30 Saturday nights on the Nine Network from GTV 9's Studio 2 in Melbourne, and was broadcast to Sydney and Adelaide. Although the show has never been repeated, Tony Martin has indicated numerous times that he would like The Mick Molloy Show to be released on DVD with a front cover depicting a burning couch (the show's logo) and the quote "a televisual shitheap" taken from one of several negative reviews the show received.
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Paul Byrnes, writing in the Sydney Morning Herald, referred to Crackerjack as 'a good-natured comedy...in which there's a nostalgia for our lost honour...This nostalgia for an Australia of mateship and communal spirit is the film's main surprise. This is a broad comedy with a televisual style - including some dreadful mugging to camera - so who expected social critique as well? The movie is about Jack getting knocked off the donkey, like St Paul. Jack grows to manhood through bowls.
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The Snowman and the Snowdog is a 2012 animated short film. It is the sequel to The Snowman, and was created to mark the 30th anniversary of the original short film. The Snowman and The Snowdog is dedicated to John Coates (the film's producer, who died in September 2012) and features a new song called "Light the Night" by former Razorlight drummer Andy Burrows. The Snowman and the Snowdog won the Televisual Bulldog Award 2013 in the Best Children's category.
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From 1976 to 1978, Guy Montagné portrayed in several episodes the role of Guyomard in the television series Commissaire Moulin. In 1978, Stéphane Collaro engaged him to perform imitations and write comic texts of his radio program on Europe 1. Having found the sitcom Tous les chemins mènent au rhum, the first political radiophonic sitcom, propelled Collaro and Montagné at the top of the radio audience. These audience successes then became televisual from 1979 to 1981 with Le Collaro show.
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The Sixth Doctor is an incarnation of the Doctor, the protagonist of the BBC science fiction television series Doctor Who. He is portrayed by Colin Baker. Although his televisual time on the series was comparatively brief and turbulent, Baker has continued as the Sixth Doctor in Big Finish's range of original Doctor Who audio adventures. Within the series' narrative, the Doctor is a centuries-old alien Time Lord from the planet Gallifrey who travels in time and space in the TARDIS, frequently with companions.
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Still Life is the second album by Aqualung, released on 27 October 2003 to critical acclaim. The album featured a more expansive, full band sound than the previous eponymous album. The album reached number 80 on the UK albums chart The first single from the album was "Brighter than Sunshine", released on 13 October 2003 and reached #37 on the UK singles chart. The second single was "Easier to Lie", released on 13 March 2004 and reached number 60 in the UK singles chart with televisual advertising.
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The increasing digitization of content has presented viewers with an increasing level of access to high quality televisual content on DVD and online. This has fostered the development of new portable methods of delivering media that help to bring television to spaces outside of the home. Consequently, multiple new revenue streams have emerged as television networks are able to sell shows through online storefronts like iTunes. The DVD market, too, has become a financially viable place to extract additional profits from television shows post-broadcast.
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Commercial fishing from the local fishing pier or Cé Heilbhic and Agriculture are sources of employment and economic activity in the area, though the importance of both has declined in recent years. Education is also a source of employment in both publicly and privately funded. Electronic manufacturing and the televisual sector which supplies TG4 and the international market are also contributors to the local economy. In 2011 there were 121 people employed in a full-time capacity in Údarás na Gaeltachta client companies in the Waterford Gaeltacht.
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A video quartet dedicated to gastronomy art. Early in his career as a motion designer, experimental video director and Creative director he collaborates to foundation of a visual department at MusiquePlus, a Québécois MTV (French- Canadian musical television channel), devoted to the diffusion of musical videos and edgy pop culture programs. The program was a kind of research laboratory of televisual and videographic experimentation, which changed the Canadian televisual framework and which receives the recognition of its pars and the public: Prix Gémeaux, Promax/BDA, a reference as regards motion design, computer art, computer animation and film experimentation mix media. In the late 1990s, Christian Langlois focused an advertising career as an advertising film director for majors and prestigious brands in fashion, telecom, teen culture, extreme sports... such a clients as 3M, Nivea, Nestlé, Côte d'Or, Danone, AT&T;, Verizon, T-Mobile, Bell Communications, Yellow Pages, Vidéotron, Telus, Mastercard, Air Canada, Bombardier, Toyota, General Motors, Budweiser, Black Label, Molson Brewery, General Mils, Zip, Bayer, Health Canada, RBK, CCM, Cirque du Soleil, Telefilm Canada, ABC, CBS, Fox, CBC, SRC, TVA, Astral Media, TV5, MTV, MusiquePlus and enRoute.
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The Ministry of Culture (MOC) was a ministry of the government of the People's Republic of China which was dissolved on March 19, 2018. The responsibilities of the MOC, which were assumed by the Ministry of Culture and Tourism, encompassed cultural policy and activities in the country, including managing national museums and monuments; promoting and protecting the arts (including censorship of visual, folk, theatrical, musical, dance, architectural, literary, televisual and cinematographic works); and managing the national archives and regional culture centers. Its headquarters were in Chaoyang District, Beijing.Home .
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Le Gorafi (anagram of Le Figaro) is a site of news satire, created in May 2012 during the French presidential campaign in the style of The Onion, a satirical newspaper of fake information. It has also been compared with Infos du Monde and L'Examineur. Since 2014, the site is also offered in a televisual form on channel Canal+ as a humoristic segment on the program Le Grand Journal. The identity of the creators was unknown until January 2014, when the two creators, Pablo Mira and Sébastien Liebus, became known in the media.
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Writing after a new adaptation was produced by Granada Television in 2002, Sarah Crompton noted that even Galsworthy's novels paled in comparison to the television series, noting that the adaptation set a lasting precedent for television dramas: > Poor old Galsworthy may in his day have won the Nobel prize for literature, > but now he is just a footnote in televisual history – the begetter of the > most popular classic serial of all time. This is no exaggeration. One > hundred million people in 26 countries ended up seeing Donald Wilson's > version of the saga.
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Madonna performed an energetic version of "Express Yourself" during the 1989 MTV Video Music Awards. She started the performance by descending from a flight of stairs, wearing a pin-striped suit and a monocle. Later she removed the coat to reveal her bustier, and together with her backing singers Niki Haris and Donna De Lory, performed a dance routine called voguing. Ian Inglis, author of Performance and Popular Music: History, Place and Time noted that the historical importance of Madonna's performance at the Video Music Awards was due to the televisual venue.
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In season 16, Ziva was confirmed to be still alive, and De Pablo returned in season 17 as a guest star for several episodes. Outside of fiction, the cultural impact of Ziva became a subject of discussion among various critics, with academics and rabbis weighing in on the matter. Newspapers such as The Jerusalem Post cited her as the only full-time Israeli character on an American mainstream network television show, and Harvard preceptor Eitan Kensky identified her as the "most prominent televisual Israeli" in the United States.
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" "Campaigns for the U.S. presidency in the era of mass media," he wrote, "always turn on the personality and style of candidates, their skills at televisual performance, their race and gender, and how all of these interact with questions of national identity at a given historical moment. The biggest difference this time is that the Democratic nominee will not embody and hence reinforce the dominant position of white masculinity in the race/gender system." Katz further maintained that, "Presidential contests until now have been contests between men. Men were the gender that mattered.
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Following series 2 of Dynamo: Magician Impossible, the show again won the Broadcast Award for Best Entertainment Programme in 2013. Dynamo also won the accolade of TV Show of the Year at the Virgin Media Awards and was nominated for Best Entertainment Programme at the BAFTA TV Awards in the same year. In 2014, Dynamo: Magician Impossible was nominated for Best Entertainment Programme at the both the BAFTA TV Awards and the Televisual Bulldog Awards. Dynamo was included in Forbes' list of The World's Highest-Paid Magicians in both 2016 and 2017.
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Hall also developed a theory of encoding and decoding, Hall's theory, which focuses on the communication processes at play in texts that are in televisual form. Reception theory has since been extended to the spectators of performative events, focusing predominantly on the theatre. Susan Bennett is often credited with beginning this discourse. Reception theory has also been applied to the history and analysis of landscapes, through the work of the landscape historian John Dixon Hunt, as Hunt recognized that the survival of gardens and landscapes is largely related to their public reception.
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BSB placed the Squarial at the heart of its advertising campaign, using the diamond shape throughout all of its channel logos and on screen presentation. This square/diamond image extended down to BSB's corporate logo and even printed and televisual advertising mediums. This led to the company's slogan (used throughout the company's existence) "It's smart to be square". The unique appearance was a design first for satellite antennae, its flat plate measured only a few millimetres thick and the LNB unit protruded another 3 cm from the rear.
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Atkinson-Wood was a regular presenter of Central Television's controversial O.T.T. and had a small role in the 1984 Young Ones episode "Nasty". She is known for her role as Mrs Miggins in Blackadder the Third (co-written by Ben Elton and Richard Curtis). She was the only regular female cast member on the radio comedy programme Radio Active, where she played Anna Daptor and other roles, and participated in the televisual equivalent of Radio Active, KYTV. She also appeared in the final episode of Joking Apart as a morning television presenter.
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The end video material was screen on five video monitors position in different places on the set. The devising process incorporated a composer (Steven Durrant) who wrote and recorded original music for the production. The aim of the project was to attempt to explore the usefulness of Antonin Artaud theories of performance in specific relation to postmodern theatrical and televisual forms. The production originally attempted to interweave and juxtapose Antonin Artaud's theories of performance with Eastern concepts of ritual and performance codification within and against modern popularist performative models.
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For example, a potential future area of research could be the issue of reruns, where the relationships have outcomes which are already known or well-established. In addition, another area of research could focus on production techniques or televisual approaches. This would include techniques such as chiaroscuro or flat lighting, the strategic placement of close-ups or establishing shots, deductive or inductive shot sequences, hip hop editing, or desaturation. These techniques have long been theorized to have some sort of influence on the formation of parasocial relationships, but their influence has yet to be determined.
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Mike Dibb (born Wharfedale, Bradford, West Yorkshire, 29 April 1940) is an award-winning English documentary filmmaker. In almost half a century of making films mainly for television – on subjects including cinema, literature, art, jazz, sport and popular culture – "he has defined and re-defined not only the televisual art documentary genre but has been able to make moving image pieces as a form of self portraiture".AFTERIMAGE: Engagements with the Cinematic, Arc magazine. Dibb has made many acclaimed films, including on Federico García Lorca, C. L. R. James, Astor Piazzolla, Miles Davis, Keith Jarrett, Barbara Thompson and other notable subjects.
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In 2012 it was listed in Televisual magazine as one of the top 100 production companies in the United Kingdom. A Great Welsh Adventure with Griff Rhys Jones won 'Best Presenter' at the BAFTA Cymru Awards 2014. A Poet in New York won 'Best Actor' for Tom Hollander at the RTS Awards 2015 as well as 'Best Feature’ and 'Best Special and Visual Effects’ at the BAFTA Cymru Awards 2015. The drama was also nominated for ‘Best Drama’ at the Broadcast Press Guild Awards, BAFTAs, Broadcast Awards, Celtic Media Awards and Critics’ Choice Television Awards in America in 2015.
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No Mike Donovan, the church choir master, wasn't Dexter first dead body, but he was our televisual introduction into Dexter's wicked world of revenge and reckoning." IGN also declared the show as the "Best New Psycho Drama of 2006". TVSquad reviewer Jonathon Toomey gave the first episode 9 out of 10 and said of it that "This show is legit, well-worth watching. The only reason I'm holding back that last star is because the screener DVD I received only had the pilot episode and I suppose it's possible that the show could go downhill after that.
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In 1965, BBC 1 broadcast all three plays from the trilogy. Directed for television by Robin Midgley and Michael Hayes, the plays were presented as more than simply filmed theatre, with the core idea being "to recreate theatre production in televisual terms - not merely to observe it, but to get to the heart of it." Filming was done on the Royal Shakespeare Theatre stage, but not during actual performances, thus allowing cameras to get close to the actors, and cameramen with hand-held cameras to shoot battle scenes. Additionally, camera platforms were created around the theatre.
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The league was an invitation-only event, contested mainly by players in the world's top 10. The combination of players was chosen though to have maximum televisual appeal, so it was usual for a mixture of high-ranked players, upcoming youngsters yet to reach the top 10, celebrated older players out of the top 10 and players with an appeal to international (non-UK) markets such as Asia or Australia to be selected. The players played each other once in a 6-frame match. Unlike other snooker events, a draw was a possible result in the league.
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"She'd like to teach the world to sing". The Times, May 2, 2010, accessed March 6, 2012; and "Meme Comes to Life", Transmedia Televisual Studies, FILM345, Queens University, February 2010 Miranda is portrayed as a home-schooled young woman who is eccentric and infantilized, narcissistically believes that she was born famous, and is obsessed with show business fame.Velasco, Schuyler. "Interview: Miranda Sings", Backstage, August 3, 2010Rivera, Erica. "'The haters' defined YouTube sensation Miranda Sings", City Pages, August 4, 2015 Miranda uses spoonerisms and malapropisms, is irritable, ludicrously self-absorbed and self-righteous, socially awkward, and has a defiant, arrogant attitude.
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In September 2008, the Daily Mirror Jane Simon wrote critically of the character, stating: "Holby has developed an unpleasant rash of annoyingly wet and whispering male docs. Elliot, Linden, Joseph - you daren't let any of them out in the rain in case they dissolve." The two-part episode which saw the climax of Linden's involvement with the Tans and their conjoined twins proved popular with critics, and was selected as a televisual "Pick of the Day" by the Western Mail, the Daily Record, the Huddersfield Daily Examiner, the Sunday Mercury, the Daily Mirror, the Birmingham Mail, and the Liverpool Echo.
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On the eve of the album's street date, a PSEN Televisual music video for "All for You" was released featuring phone numbers for UK and US viewers to call. Those numbers contained a pre-recorded message from Alexander sharing his robotic expertise on "feelings and emotions". The release of the album was prefaced by the "Palo Santo Parties", hosted by the trio in New York, San Francisco, Los Angeles, Berlin and London, where they performed various selections from Communion and Palo Santo. The Palo Santo Tour, in support of the album, began in North America in October 2018, and will conclude in 2019.
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Jukes' opening episode of the third season of Holby City was described by The Guardian as the "televisual equivalent of Crack Cocaine." In October 2009, Jukes wrote a critical piece for Prospect magazine, contrasting the standards of UK television drama negatively with the standard of television dramas in America. In the essay Why Can't Britain Do the Wire he argued that high-quality drama in the UK had suffered from a concentration of commissioning power, the dominance of soaps (such as the twelfth series of Holby City), and the lack of show runners or writer producers that characterise US TV drama production.
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Drawing on his radio experience with Nicky (who had routinely "sent up" advertisers), Kennedy transformed the live commercials from what would have otherwise been dull pro-forma obligations into a unique comedic art form. On one famous occasion, a scheduled 20-second ad spot for an aspirin product was spun out into 33 minutes of improvised comedy. Newton has written: > The blood would drain from the face of Pelaco shirt-wearing executives in > television, advertising and business until they realised that instead of > televisual suicide, this skinny little wiseguy was commercial gold. And then > they liked his brand of humour a lot.
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The programme was broadcast live and often included Terry-Thomas walking through control rooms and corridors of the BBC's Lime Grove and Alexandra Palace studios. The author and historian Mark Lewisohn described the series as being "inventive ... truly televisual and not just a radio programme in costume". The series ran until 21 December 1949; a second series followed between April and May 1950, with Sid Colin taking over the scripting duties and Terry-Thomas providing additional material. By the third series, which was broadcast between November 1950 and February 1951, the audience reached four million viewers.
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Double Take plays with different genres against one another and with how fiction comes to stand for reality or the other way around. It shows a recent history against a fiction even while it presents that history itself as an ongoing story of claustrophobic suspense. In the end not only politicians but Hollywood as well are "invested in perpetuating a culture of fear". Double Take also refers to the doubling of cinema versus television through an intimate fiction story versus a bigger political narrative as well as through the rivalry between cinema and its televisual double.
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Blink was named "Production Company of the Year" by Campaign in 2012 for the second consecutive year, having previously held the title in 2011 and 1997. Blink was also chosen in 2011, 2014 and 2015 for the same accolade by Televisual Magazine. In both 2013 and 2015, Blink was named Production Company of The Year at the British Arrow Awards, as well as a winning a total of 18 gold and silver awards for its commercials. Blink won the Grand Prix at Cannes Lions 2016 for Harvey Nichols' "Shoplifters", having won the Film Craft Grand Prix in 2015 for John Lewis "Monty's Christmas".
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Keith Watson of the Metro welcomed the show as a challenger to "Britain's No.1 TV sports spot-the-scripted-bits banter show", referring to the BBC's show A Question of Sport, hosted by Sue Barker. Watson, writing after the first episode, said "Team skippers Freddie Flintoff and Jamie Redknapp are just there as window-dressing/butts of jokes, for this is Corden's show and he takes to it like a puck to the ice rink. [Sue] Barker beware." Sharon Lougher and Larushka Ivan-Zadeh also of the Metro went further, announcing the show as "basically, A Question of Sport for idiots ... the televisual equivalent of Nuts magazine".
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They explain this concept as the mingling of virtual time and real time. This occurs in T_Visionarium as the viewer searches the televisual database in virtual time and experiences the consequences of this navigation in real time. Tim Barker builds on this description to situate the "multi-temporal" in T_Visionarium as the consequence of the viewer's ability to access multiple temporal episodes simultaneously. As each television clip represents different time periods, the result of accessing these all at once is what he refers to as a "multi-temporal duration", a duration of time that is made up of multiple and differentiated representations of time 10.
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In the 1990s, Mark C. Taylor opined that the similarities between Disney and Las Vegas that Venturi et al. had touched upon in the 1970s had grown immensely over the years, with much of the urban space being thematized and devoted to fantasies upon fantasies and "worlds within worlds". He observed that this architectural link to Disney had even been made concrete, with the MGM Grand Hotel directly mimicking (albeit with some differences) the original Walt Disney World. Taylor also observed the replacement of neon with the televisual, to create a vast visual space in which "the virtual becomes real and the real becomes virtual".
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Ross and Rachel's season three breakup has spawned a debate among Friends fans, who continue to argue over which of the two was at fault: Rachel for suggesting that they take a break from their relationship, or Ross for sleeping with another woman immediately afterwards. Writing for E!, Jenna Mullins ruled in favor of Rachel, elaborating, "there is no excuse for Ross sleeping with someone else after his lobster suggested taking a break", concluding that Ross "blew it". The Jewish community was particularly receptive to the fact that a Jewish-American couple existed on prime time television, described by Lilith magazine as "a televisual first".
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Landscapes of England: An Exploration with W.G. Hoskins is a BBC television documentary series broadcast on BBC Two in 1976 and 1978. Written and presented by Professor W.G. Hoskins, the series was a televisual accompaniment to his seminal text The Making of the English Landscape (1955), examining how human influence has greatly shaped the landscape of distinct regions in England. Hoskins's book The Making of the English Landscape had formed the basis of a 50-minute Horizon episode broadcast in 1972 presented by Hoskins and produced by Peter Jones. Many of the same crew returned for Landscapes of England, which focussed on individual landscapes within England.
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Dimmock launched a televisual coverage from April 1954 in front of the cameras as the host of a new sport news programme Sportsview (which became Sportsnight in 1968), with what would be a long-running Speedway series. In its first year the series featured Roger Bannister's record breaking four-minute mile run. The BBC Sports Personality of the Year award also started in 1954 – with Dimmock again taking the presenter role, which he was to continue for over a decade. Having presented Sportsview for over four years, he fronted the first two shows of Grandstand in October 1958 before handing over to David Coleman.
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The campaign was launched with a television commercial produced by McCann Erickson New York, with Max saying in his trademark stutter, "C-c-c-catch the wave!" and referring to his fellow "Cokeologists". In a riposte to Pepsi's televisual teasings, one showed Headroom asking a Pepsi can he was "interviewing" how it felt about more drinkers preferring Coke to it and then cut to the condensation forming on, and running down, the can. "S-s-s-s-sweating?" he asked. The campaign was a huge success, and surveys likewise showed that more than three-quarters of the target market were aware of the ads within two days.
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Owing to this shortcoming, politics and religion are diluted, and "news of the day" becomes a packaged commodity. Television de-emphasises the quality of information in favour of satisfying the far-reaching needs of entertainment, by which information is encumbered and to which it is subordinate. Postman asserts the presentation of television news is a form of entertainment programming; arguing that the inclusion of theme music, the interruption of commercials, and "talking hairdos" bear witness that televised news cannot readily be taken seriously. Postman further examines the differences between written speech, which he argues reached its prime in the early to mid-nineteenth century, and the forms of televisual communication, which rely mostly on visual images to "sell" lifestyles.
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Sixteen South is a company that creates and produces television for children around the world. Founded in Belfast in 2008 by Colin Williams, they currently employ 81 people and have partnered with major names in children's entertainment, co-producing shows with Sesame Workshop, The Jim Henson Company and the BBC. The company has already won over 20 major international television awards including a BAFTA Award and two Emmy nominations, and in Business, they have been ranked among the UK's top indie producers by Televisual and been ranked at the top of the Deloitte UK and Ireland Fast 50 in 2013. Colin Williams was one of the 2013 finalists in the Ernst & Young Entrepreneur of the Year Award programme.
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It argues that at least since the new millennium, networked global media seek to ensure that the future is already pre-mediated before it emerges into the present. The book also explores how the phenomenon of premediation produces and maintains a low level of anxiety in relation both to the global war on terror and to such other post-9/11 threats like climate change, cybersecurity, or financial crises. Grusin posits that in our current era of mobile socially networked media, the function of print, televisual, and networked media is to produce and maintain both individual and collective affects of anticipation, which keep the digital citizens of the 21st-century oriented towards the premediated future.
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Technologies of History marks an intervention in the academic sub-field of Film and History, which has largely focused on the accuracy and verifiability of cinematic and televisual history, especially in the genres of documentary and historical epics.Steve F. Anderson "Introduction to Technologies of History (Dartmouth College Press 2011)"] Anderson's book advocates consideration of the historiographical value of non-traditional (what he terms "eccentric") forms of visual history including experimental film and video, fake documentary, found footage, science fiction time travel and digital games. D. L. LeMahieu's book review in the journal Film & History notes that "Anderson’s validation of the idiosyncratic and experimental opens new areas of research and analysis for historians."D. L. LeMahieu.
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Design history is the study of objects of design in their historical and stylistic contexts. With a broad definition, the contexts of design history include the social, the cultural, the economic, the political, the technical and the aesthetic. Design history has as its objects of study all designed objects including those of architecture, fashion, crafts, interiors, textiles, graphic design, industrial design and product design. Design history has had to incorporate criticism of the 'heroic' structure of its discipline, in response to the establishment of material culture, much as art history has had to respond to visual culture, (although visual culture has been able to broaden the subject area of art history through the incorporation of the televisual, film and new media).
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Bednarek's research on television dialogue has focused mainly on US TV series, with current work extending this to Australian series. Contributions include the theorizing of televisual characterization, for example, the concept of 'expressive character identity', a new framework for analysing the functions of dialogue (FATS), and methodological innovation in taking a trinocular view of how language is used in television series, how such language is produced by screenwriters, and how it is consumed in transnational contexts. A new corpus of dialogue from 66 different TV series was compiled for this project. Her work on swear and taboo words in television dialogue has resulted in a novel operationalization and theorization of such words as well as a new taxonomy of relevant linguistic practices.
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During the 1990s and 2000s, the UK concurrently saw the emergence of a robust local video games industry, with derivative areas of production devoted to computer motion graphics generated in their wake. By the turn of the century the UK had generated a strong local digital animation and computer graphics industry, with London post production companies such as Framestore and Double Negative producing visual effects and computer graphics animation for a variety of local and international filmic works. On the more amateur side, several British animations online have developed international cult followings, such as the surreal Salad Fingers and Don't Hug Me I'm Scared. Similar transnational relationships would develop between established and emerging filmic and televisual animation studios and larger foreign companies.
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The Paul Pert Screen Collection is a privately owned resource consisting of several thousand original items of printed ephemera, studio publicity and merchandise produced in connection with classic and 'cult' televisual entertainment, dating predominantly from the period now affectionately referred to - on both sides of the Atlantic - as the 'Golden Age' of television. The collection also extends into the realms of other periods, including classic television productions of the 1970s and '80s retaining sufficient merit as to warrant inclusion, and selective areas of cinema. There is also a section of the archive dedicated to optical and screen entertainment in its earliest forms, stemming from an interest in the history and development of the moving image. The archive is grouped into 'themed' collections, in order to focus on particular shows, films, genres, studios or actors etc.
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The T_Visionarium project is framed by the concept of aesthetic transcription, that is, the way new meaning can be produced is based on how content moves from one expressive medium to another 6. This is seen throughout art history where an artist recreates motifs from another artist's work (for an instance of this one can cite the apparent evolution from the goddess figure, say Venus, in archaic Greek sculpture to its conception in the classical period through to its appearance in renaissance oil painting). The concept of aesthetic transcription treats each adoption of techniques or cultural data as differentiated in itself, as something new, rather than as an imitation of what went before 7. In T_Visionarium, the digital allows the transcription of televisual data, decontextualising the original data, and reconstituting it within a new artifact.
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The programme won a 7 d'or in 2001. There were two televisual firsts for Delarue in 1999: his first production for TF1, the short programme Bien jardiner (Good gardening) with Jean-Pierre Coffe (a French radio and television presenter, food critic, writer, chef and actor), and the creation for France 3 of the first programme to be dedicated to new media and the internet, 3x+Net, presented by Florian Gazan (a French radio presenter) and Orianne Garcia (a well-known French internet specialist of Spanish origin). In 1999 Réservoir Prod launched "C'est mon choix" (It's my choice), a daily talk show hosted by Évelyne Thomas on France 3. Despite its success the show came to an end during summer 2004 due to an unresolved dispute between the producers and Thomas.
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He contends that "television is altering the meaning of 'being informed' by creating a species of information that might properly be called disinformation—misplaced, irrelevant, fragmented or superficial information that creates the illusion of knowing something but which in fact leads one away from knowing". Drawing on the ideas of media scholar Marshall McLuhan - altering McLuhan's aphorism "the medium is the message" to "the medium is the metaphor" - he describes how oral, literate, and televisual cultures radically differ in the processing and prioritization of information; he argues that each medium is appropriate for a different kind of knowledge. The faculties requisite for rational inquiry are simply weakened by televised viewing. Accordingly, reading, a prime example cited by Postman, exacts intense intellectual involvement, at once interactive and dialectical; whereas television only requires passive involvement.
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Ian Inglis, author of Performance and Popular Music: History, Place and Time noted that the historical importance of Madonna's performance at the Video Music Awards was due to the televisual venue. Inglis explained that since Madonna's performance was striking primarily as a high-energy, provocatively choreographed, dance production number, it went on to highlight the 'TV' part of MTV, and in a way heralded her and the network as a cultural arbiter. Madonna included the song in the set list of her Blond Ambition World Tour in 1990, which featured a version based on the Non-Stop Express remix of the song and included lyrics from "Everybody" during the introduction. The set was inspired by Metropolis and the themes were taken from the factory seen in the music video.
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On May 13, 2013, Weigel announced that Tribune Broadcasting would take over operations of This TV on November 1, and that the channel would move to a WGN-TV subchannel following the changes.Good Times for Digi-Nets...But We've Seen This Movie Before, B&C;, 5 August 2013, Retrieved August 6, 2013 On July 1, 2013, Weigel premiered the new subchannel service TouchVision, which provides a rolling news and information service designed for television, mobile and tablet platforms starting on WDJT-DT4, after Milwaukee real estate agency Shorewest Realtors ended their time-lease on the channel space to concentrate on an Internet on-demand channel instead. TouchVision was based out of Weigel's Chicago facilities under the LLC "Think Televisual", and was run by former radio and Tribune executive Lee Abrams and Brandon Davis. TouchVision ceased operations on January 14, 2016.
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The Minister of Culture is in the Government of France, the cabinet member in charge of national museums and monuments; promoting and protecting the arts (visual, plastic, theatrical, musical, dance, architectural, literary, televisual and cinematographic) in France and abroad; and managing the national archives and regional "maisons de culture" (culture centres). The Ministry of Culture is located on the Palais Royal in Paris. The modern post of Minister of Culture was created by Charles de Gaulle in 1959 and the first Minister was the writer André Malraux. Malraux was responsible for realizing the goals of the "droit à la culture" ("the right to culture") -- an idea which had been incorporated in the French constitution and the Universal Declaration of Human Rights (1948) -- by democratizing access to culture, while also achieving the Gaullist aim of elevating the "grandeur" ("greatness") of post-war France.
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Smith has written and presented two six-part TV series on BBC Four, Citizen Smith, examining what it means to be English (2008)The Guardian review of Citizen Smith' and Michael Smith's Drivetime, a road movie exploring the cultural impact of the car (2009). As well as featuring Smith's mediations on the landscapes he encountered, the film also saw him meeting local people who offered a personal insight into their neighbourhoods, such as writer and comedian Lee Kern who was Michael's "spirit guide" into Edgware and the A41. They were followed by a one-hour televisual love-letter, A Journey Back to Newcastle: Michael Smith's Deep North (2010). Both series were produced and directed by Simon Egan of Bedlam Productions, who went on to co-produce the multi-Oscar- and BAFTA- winning feature film, The King's Speech.
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Ellen Jones, writing for The Independent, said of the series > Undeniable, which began on ITV last night, is the televisual equivalent of > those paperback thrillers you buy in the airport and chuck away at your > destination: serviceably diverting in the moment, instantly forgettable > afterwards. Claire Goose might not look back on playing Jane Phillips as a > high point in her career, but she’s believable enough as our heroine, a > happily married woman, pregnant with her second child. As a five-year-old, > Jane was the only witness to her mother’s murder and now, many years later, > she believes she’s spotted the man responsible and is determined to bring > him to justice. Jane might have an easier time of it, if the man she’d > fingered for this crime wasn’t a well-respected consultant oncologist and > all-round affable chap.
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The Secretariat of Culture (), formerly known as the National Council for Culture and Arts ( or CONACULTA), is a Mexican government agency in charge of the nation's museums and monuments, promoting and protecting the arts (visual, plastic, theatrical, musical, dance, architectural, literary, televisual and cinematographic), and managing the national archives. It was created in 1988 and was a decentralized body of the Secretariat of Public Education (). On December 18, 2015, CONACULTA was elevated to a secretariat following the passage of a law originally promoted three months earlier by President Enrique Peña Nieto. Diplomat, historian and lawyer Rafael Tovar y de Teresa was the first culture secretary; in office for one year since CONACULTA was elevated to a Cabinet-level position in December 2015 until 10 December 2016, when Tovar y de Teresa died in Mexico city at the age of 62.
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Today, in the early twenty-first century, the American South is undergoing a number of cultural and social changes, including rapid industrialization/deindustrialization, climate change, and an influx of immigrants. As a result, the exact definition of what constitutes Southern literature is changing. While some critics specify that the previous definitions of Southern literature still hold, with some of them suggesting, only somewhat in jest, that all Southern literature must still contain a dead mule within its pages, most scholars of the twenty-first century South highlight the proliferation of depictions of "Souths": urban, undead, queer, activist, televisual, cinematic, and particularly multiethnic (particularly Latinos, Native American, and African American) Not only do these critics argue that the very fabric of the South has changed so much that the old assumptions about southern literature no longer hold, but they argue that the U.S. South has always been a construct.
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Though she "acts as televisual wish fulfillment, a touching melancholy comes to the surface ... suggesting that (she) doesn't consume with such hearty gusto out of a simple lust for life but from a need to fill the void inside her". Series creator Phoebe Waller-Bridge explained how her crafting of Villanelle's character resulted from continually asking, "What would you do if you weren't afraid?" Waller-Bridge endorsed that "Villanelle does have fun, choosing to only do things that might bring her joy"—from selecting haute couture to contriving murder techniques—a fearlessness that is a perfect counterpoint to the self-consciousness and guilt that cripples Eve in the first season. Actress Jodie Comer described her character as a free spirit, not self-conscious at all, likening Villanelle during her acts of murder to a cat playing with a mouse before going in for the kill.
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Deacon’s early 1990s output focused on the visual and the physical, with a series of performances exploring object manipulation and personification. Later work began questioning the spatial limitations and social conventions imposed on performance with a series of interventions in public and televisual spaces, including an impromptu interrogation of former UK Home Secretary Michael Howard on the Channel 5 show, The Wright Stuff. The late 1990s saw a series of performances that explored issues of racial politics, and notions and definitions of obscenity produced in collaboration with performance artist and film actor Laurence R. Harvey. From the early 2000s, he began producing a series of works that used spoken word and lecture based presentation, such as Harry and Me (2004). This performance lecture described Deacon’s search for television footage of himself as a member of his school choir on an edition of Harry Secombe’s religious program Highway.
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A great number of Bergman's interior scenes were filmed at the Filmstaden studios north of Stockholm Bergman developed a personal "repertory company" of Swedish actors whom he repeatedly cast in his films, including Max von Sydow, Bibi Andersson, Harriet Andersson, Erland Josephson, Ingrid Thulin, Gunnel Lindblom, and Gunnar Björnstrand, each of whom appeared in at least five Bergman features. Norwegian actress Liv Ullmann, who appeared in nine of Bergman's films and one televisual film (Saraband), was the last to join this group (in the film Persona), and ultimately became the most closely associated with Bergman, both artistically and personally. They had a daughter together, Linn Ullmann (born 1966). In Bergman's working arrangement with Sven Nykvist, his best-known cinematographer, the two men developed sufficient rapport to allow Bergman not to worry about the composition of a shot until the day before it was filmed.
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And now they want to make Abra a permanent fixture in the show." Series producer Emma Turner said at the time that "(Abra) made a huge impact in the few episodes that he was involved in" and expressed her delight that Edmondson had agreed to reprise the role. TV critic Jim Shelley satirised the unrealistic storyline given to the character upon his return, deeming Abra's line "Essentially, it's an experiment and illegal." when explaining to the sister of a patient that he intended to transplant a pig's kidney into her brother's body, his televisual 'Bad news of the week'. However, Digital Spy's Dek Hogan was more positive about the plot strand, and especially the role of Abra therein, stating: "It’s been a cracking take this, another example of the excellent form that medical drama has been in this year, thanks in no small part to Adrian Edmondson marvellous turn as maverick surgeon Abra.
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The first episode received its worldwide premiere at the 2015 Toronto International Film Festival on 20 September 2015, as part of the festival's new Primetime platform of selected television projects. The first series began broadcasting on RÚV in Iceland on 27 December 2015, and broadcasting rights have since been sold to several countries. The series commenced on NRK1 in Norway on 18 January 2016, under the title Innesperret, and on Yle Fem in Finland on 2 February under the titles Fångade (Swedish) and Loukussa (Finnish). The series first aired on BBC Four in the United Kingdom on 13 February and on RTÉ2 in Ireland on 21 February under the title Trapped. The series has also aired on France 2 in France, and on ZDF in Germany. In Australia, SBS on Demand released the first season for streaming on 16 June 2016, followed by a televisual broadcast on SBS One on 30 November 2016.
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With the exception of the release of the Culture Vulture EP in 2004, no new material from the band had been released between 2001 and 2018. However, in 2010, a series of download albums were released to Amazon.co.uk. The release consisted of six different albums containing 'in concert' performances at the BBC. Most were EPs but a few were live albums. The single "Right Here, Right Now" was resurrected in 2006 as an advertising jingle for the American retailer Kmart, in an image campaign for CBS News, and in promotional advertisements for the now defunct television channel, TechTV. Ford Motors was using "Right Here, Right Now" in their 2010 televisual advertising campaign. A cover of the song was also recorded by New Zealand band The Feelers to use in advertising for the 2011 Rugby World Cup. In 2011 the band released The Collection & Other Rarities, which included many of their B-side tracks as well as demos and rarities. In November 2014 EMI reissued all four of the band's albums in a special CD+DVD bundle.
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His most recent monograph is Beckett, Deleuze and the Televisual Event: Peephole Art (Palgrave Macmillan, 2012), a critical study of Samuel Beckett’s experimental work for film and television and its connection to Gilles Deleuze’s ontology of the image in Cinema 1 and Cinema 2. Excerpts have appeared in Deleuze Studies Journal (2012) and Continuum Books’ Gilles Deleuze: Image and Text (2009). He is the co-editor of two anthologies with Professor Patricia MacCormack (Anglia Ruskin University): Deleuze and the Animal (Edinburgh University Press, 2017) and Ecosophical Aesthetics: Art, Ethics and Ecology With Guattari (Bloomsbury Publishing, 2018). Gardner contributed the chapter on Roland Barthes to Felicity Colman’s Film, Theory & Philosophy: The Key Thinkers (Acumen, 2009) and is collaborating with Dr. Colman (University of the Arts, London) on a Four Volume Encyclopedia of Film- Philosophy, due to be published by Bloomsbury in 2020, which attempts to bridge the gap between continental and analytic approaches. Gardner has also published two books in Manchester University Press’s “British Film Makers” series: a critical study of the blacklisted American film director, Joseph Losey (2004), and a monograph on the Czech-born, British filmmaker and critic, Karel Reisz (2006).
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Glenn Barkley, Curator at the Museum of Contemporary Art Australia, has described Ciccone’s “obsessive engagement” with television and mass media presentations of sporting events as being a quintessential trait of his generation, stating that for “Generation X,” there is “little difference between what we might watch and how we might feel.” He notes the manner in which Ciccone democratises his subjects, describing an oeuvre of works in which “cathedrals are as important as the corner of a studio and lions lie with mice, and elephants, and koala bears.” However, Barkley is careful to point out that Ciccone’s works are not flippant; he attributes his use of low-brow televisual imagery to a project which elevates and finds meaning in banal aspects of contemporary life, claiming that he “celebrates the mundane, the disposable and finds it beautiful.” Stylistically, Ciccone’s rendering of mass media personages and events in soft, layered pastel, work towards this elevation of his subject, transforming the “flatness of newsprint or flickering image on the screen” into something “warm and personal.” Although best known for his works in pastel on paper, Ciccone has worked in a range of mediums including painting, printmaking, ceramics and digital animation.
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