College Eats - Beyond Ramen

“College Eats - Beyond Ramen” is a cooking show for college students. The mission of the show is to show college students that cooking healthy and delicious dishes is simple. The show is made possible through the completely student-run campus TV station (CitrusTV). The project consists of four seasons of the show with 55 episodes total. Episodes range anywhere from two to 15 minutes long and can all be found on YouTube and the campus television network (Orange Television Network). The show is pre-taped. I created the show as well as hosting and producing it. I have recruited crew to work on the show with me, working cameras, directing and helping with editing. I am involved in everything from the original idea for a recipe to shooting episodes and editing in post-production. There is a shoot every other Friday and during each shoot we do anywhere from two to five episodes. An episode is posted weekly on YouTube along with a step-by-step description on the show’s blog. We use SONY NX5U cameras and a GoPro as well as AVID editing software. The show is not just my Capstone project, but also an official CitrusTV show and will continue even though the project is done. A big part of the project was making sure that there are people to run the show next year and to get funding as well. I started the show because it combines two things I am passionate about - my major (Broadcast and Digital Journalism) and cooking. This project involved working in every aspect of the show, learning how to manage people, and developing my skills in both producing and on-air television. All episodes can be found here: http://goo.gl/PsduK3

Mercy

Includes bibliographical references.The way in which indigenous people are represented in documentaries has radically changed within the last century. But "If there (still) is one overriding ethical/political / ideological! question to documentary filmmaking it may be, What to do with the people" (Nichols qtd. in Barbash and Taylor, 1997: p. 12). How can people and issues be represented appropriately? How can one make a documentary about somebody or something with a totally different cultural background to one's own without being unethical? The so-called expository documentary was the first prevailing documentary mode and tries to answer these questions with an authoritative voice-over commentary combined with a series of images that aim to be descriptive and informative. The voice-over approaches the spectator directly and offers facts or arguments that are illustrated by the images. It provides abstract information that the image cannot carry or comments on those actions and events that are unfamiliar to the target audience. This is exactly what some filmmakers reacted against - "to explain what the images mean, as if they don't explain themselves, or as if viewers can't be trusted to work the meaning out on their own. Indeed, the voice-over often seems to attribute a reduced meaning to the visuals; that is it denies them a density they might have by themselves" (Barbash and Taylor, 1997: p. 19). It is typical for the expository documentary style that the narrator speaks about or for other people. Some filmmakers see these voice-overs as "colonial, an enemy of the film, the voice of God" or even as "the (non-existent) view from somewhere" (Barbash and Taylor, 1997: p. 47)

Sex on TV 3

Part of a series that examines the nature and extent of sexual messages conveyed on TV. Tracks changes that occur over time in the treatment of sexual topics, including references to possible risks or responsibilities. Based on a 2001-2002 program sampl

Absence and Presence: Top of the Pops and the demand for music videos in the 1960s

The file attached to this record is the author's final peer reviewed version.Whilst there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen’s video for ‘Bohemian Rhapsody’, few scholars have pursued Mundy’s (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC’s Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. The argument follows that this format created a demand for the top British artists’ regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. This frequent absence then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of artists’ appearance. Drawing on records held at the BBC’s Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV’s demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television’s requirement to cover for an artist’s studio absence

Spartan Daily December 9, 2010

Volume 135, Issue 53https://scholarworks.sjsu.edu/spartandaily/1216/thumbnail.jp

Spartan Daily, October 2, 1981

Volume 77, Issue 22https://scholarworks.sjsu.edu/spartandaily/6798/thumbnail.jp

Locating the ‘radical’ in 'Shoot the Messenger'

This is the author's accepted manuscript. The final published article is available from the link below, copyright 2013 @ Edinburgh University Press.The 2006 BBC drama Shoot the Messenger is based on the psychological journey of a Black schoolteacher, Joe Pascale, accused of assaulting a Black male pupil. The allegation triggers Joe's mental breakdown which is articulated, through Joe's first-person narration, as a vindictive loathing of Black people. In turn, a range of common stereotypical characterisations and discourses based on a Black culture of hypocrisy, blame and entitlement is presented. The text is therefore laid wide open to a critique of its neo-conservatism and hegemonic narratives of Black Britishness. However, the drama's presentation of Black mental illness suggests that Shoot the Messenger may also be interpreted as a critique of social inequality and the destabilising effects of living with ethnicised social categories. Through an analysis of issues of representation, the article reclaims this controversial text as a radical drama and examines its implications for and within a critical cultural politics of ‘race’ and representation

Filmed Across the World, Made at Elstree : How television made at Elstree in the 1960s and 70s brought a global experience to the small screen

The various studios of Elstree and Borehamwood were, in the 1960s and 70s, home to globetrotting adventurers including The Saint, Department S, Jason King, Danger Man, and The Baron. ITC Entertainment reached out to global audiences, winning the Queen’s Award for Export in the process, through the studios based in Elstree and Borehamwood. While many of the shows made featured the globetrotting exploits of their leading characters – Simon Templar, international playboy; Jason King, Interpol agent and novelist; and John Drake, spy and fixer for international organisations – the production crew rarely, if ever, left the confines of the TV sound stages and backlot, except for a brief dash down Borehamwood high street or into rural Hertfordshire. This paper will discuss the operations and technical methodologies used on a weekly basis by production crews in their attempts to recreate Rome, Paris, Madrid and even the Sahara Desert on small budgets, using stock footage and with limited materials.Non peer reviewedFinal Accepted Versio

Global Health in Lights: Hollywood's Master Storytellers & Stars Highlight Global Health in Entertainment

Sandra de Castro Buffington, director of the Norman Lear Center's Hollywood, Health & Society program, moderated this discussion which brought top TV producers, writers and performers together with key Washington policymakers to focus on how global health is portrayed in entertainment media