Not exact matches
Once again, a
television series is proving that American
audiences have a thirst for stories revolving
around real people and actual crimes.
Along the way, it helped create new ways for advertisers and corporations to reach
audiences, from a «promoted tweets» model now replicated by Facebook and other Internet platforms, to its «second screen» approach to encouraging real - time debate
around television programs.
Television has developed
around advertising, the primary purpose being to gather as large an
audience as possible to «sell» to the advertisers.
Stewart Hoover has noted that the greater influence of
television lies not in its ability to brainwash or radically change people's minds on particular issues but in its ability to coalesce an
audience around a particular issue.
Central to an understanding of what will be the future of religious
television in America is the fact noted in the research on
audience sizes: that the
audiences for paid - time religious programs as a whole reached a plateau
around the year 1977.
An
audience rivaling that of the Super Bowl — perhaps
around 100 million Americans — will be glued to
televisions, smart phones and social media when the rivals rip off the gloves at 9 pm ET.
«While education on
television attracts an
audience of under 500 000, prime time drama reaches
around 11 million viewers, a third of our population.»
At the core of the Entertainment and Media Practice is the representation of clients in transactions involving the production, financing, and distribution of motion pictures and
television programming aimed at
audiences around the world.
Entertainment One's film and
television president Steve Bertram said, «Scary Stories to Tell in the Dark, led by the incomparable Guillermo del Toro, is such a chillingly fun ride that it's sure to leave
audiences around the world jumping in their seats.»
(Travis Wilkerson, 2017) projected video with live filmmaker narration; Crossroads Festival at SFMOMA, San Francisco, CA Gone, Gone Beyond (People Like Us, 2017) 10 - projector video installation; Grey Area, San Francisco, CA I'll Be
Around (Jeremy Rourke, 2017) multi-video & 16 mm with live music performance; Artists»
Television Access, San Francisco, CA Lost Landscapes of San Francisco 12 (Rick Prelinger, 2017) silent video with live filmmaker and
audience narration; Castro Theatre, San Francisco, CA The Maribor Uprisings (Milton Guillén & Maple Razsa, 2017) branching video with guided
audience participation; Maine International FilmFestival, Waterville, ME Mosswood (Kerry Laitala & Voicehandler, 2017) dual - 16 mm projector performance with live music; Mosswood Chapel, Oakland, CA Night Country (John Davis & Joshua Churchill, 2017) triple - 16 mm projector performance with live music; Mosswood Chapel, Oakland, CA Temporal Cities (Lizzy Brooks & Radka Pulliam, 2017) projected video with 35 mm slides; Other Cinema at Artists»
Television Access, SanFrancisco, CA What Is Nothing [After What is Nothing](Kristen Reeves, 2017) nonuple - 16 mm projector performance; San Diego Underground Film Festival, San Diego, CA
The concerts brought together more than 150 musical acts in eleven locations
around the world which were broadcast to a mass global
audience through
televisions, radio, and streamed via the Internet.
«Images of the protest, opposite the main VIP Paddock Club, were not shown on the live
television feed which is provided by Formula One Management and watched by an
audience of many millions
around the world.»