Podcasts about mittell

Freude und Stolz: Dies hat der Sieg von Nemo am ESC 2024 in Malmö in Biel ausgelöst. Dort ist Nemo gross geworden. «Biel gehört zu Nemo und Nemo gehört zu Biel», sagt Gemeinderätin Glenda Gonzales Bassi. Weiter in der Sendung: * Die BEA hat mit 330'000 Besucherinnen und Besuchern den Rekord vom Vorjahr wiederholt. * Fabian Staudenmann und Adrian Walther gewinnen das "Mittelländische" in Riggisberg. * Wanja Greuel, CEO der Berner Young Boys, verlässt den Club auf Ende Juni.

Am Muttertag startet mit dem «Mittelländischen» in Riggisberg die neue Schwingsaison. Mit sieben Kranzfestsiegen aus der letzten Saison gehört der Berner Fabian Staudenmann zu den Favoriten. Dank seines Erfolgs wurde er defintiv vom Jäger zum Gejagten. Weiter in der Sendung: * VS: Bundesratssprecher André Simonazzi ist tot. Der 55-jährige Walliser stirbt laut der Bundeskanzlei überraschend auf einer Wanderung.

Wenn die «Schöne», die «Schön-Wüeschte» und «Wüeschte» ein gutes neues Jahr wünschen, sind die traditionellen Appenzeller Silvesterkläuse in der Gegend um Urnäsch unterwegs. Wer mit dabei sein will, muss früh aufstehen. Jeweils im Morgengrauen des 13. Januars, dem Alten Silvester, machen sich die Appenzeller Silvesterchläuse auf, um ein frohes neues Jahr zu wünschen. Traditionelles Zuschauermagnet Der Anlass ist beliebt und zieht jedes Jahr zahlreiche Schaulustige an, die, die einzelnen Gruppe, Schuppel genannt, auf ihrem Weg von Hof zu Hof beobachten. Die Chläuse werden in drei Gruppen unterteilt: die «Schöne», die «Schö-Wüeschte» und die «Wüeschte». Die «Schöne» tragen Samttrachten und aufwändig gestaltete Hüte und Hauben, auf denen geschnitzte Alltagsszenen zu sehen sind. Die «Schö-Wüeschte» tragen sorgfältig gestaltete Natur-Materialien wie Tannenreisig, Stroh oder Laub. Die «Wüeschte» schliesslich tragen struppige Naturgewänder und Dämonenlarven im Gesicht. Kirchliches Verbot Das Silvesterchlausen geht auf ein kirchliches Verbot zurück, dass das laute Herumlaufen und Singen in der Altjahreswoche verhindern sollte. Zwischen 1776 und 1808 wurde dieses Vergehen im Kanton Innerhoden mit fünf Talern Busse bestraft. Im Hinterland des Kantons Appenzell Ausserrhoden blieb jedoch der Brauch erhalten und auch im Kanton Innerhoden wurde das «Chlausen» bis um das Jahr 1900 mehr oder weniger stillschweigend toleriert. Weil die Pfarrherren jedoch damit drohten, Knaben, die sich an diesem Brauch beteiligten, nicht zu konfirmieren, begann man sich zu verkleiden. Weitverbreiteter Anlass in der Region Der Alte Silvester mit dem Silvesterchlausen wird in der ganzen Ausserrhoder Region «Hinterland» gefeiert. Das heisst im grössten Ort Urnäsch, aber auch in Waldstatt, Hundwil, Schönengrund, Schwellbrunn, Stein und Herisau. Seit 2015 und 2022 auch in den Mittelländer Gemeinden Teufen und Speicher. SRF 1 Outdoor Reporter Marcel Hähni stellt den Brauch in den Mittelpunkt der Treffpunktsendung.

Knapp, mit 70 Nein zu 64 Ja, hat das Kantonsparlament am Dienstag eine Standesinitiative der SVP abgelehnt. Diese wollte das Verbot von neuen AKWs aus dem Gesetz streichen. SP, GLP, Grüne, EVP und Mitte stimmten Nein. Die FDP und die SVP sagten Ja zur Standesinitiative.  Weiter in der Sendung: * Die Mia, die Mittelländer Gewerbeausstelltung in Grenchen ist abgesagt. Der Rummelpark wird jedoch zehn Tage offen sein. * Neuendorf: Eine 68-jährige E-Bikefahrerin stirbt bei einem Verkehrsunfall. Ein Auto hatte sie erfasst und schwer verletzt. Die Frau starb noch auf der Unfallstelle. Die Polizei teilt mit, das Auto habe Vortritt gehabt.

"Früher war alles egal, wie es geschmeckt hat, hauptsache, es hat desinfiziert", sagt Franziska Bischof. Heute sieht die Sache ganz anders aus. Im unterfränkischen Wartmannroth, nahe Bad Kissingen, betreibt die Edelbrandsommeliere ihre Brennerei, und daran angeschlossen eine Destillathek. Dort kann man in aller Ruhe all die Spirituosen, Brände und Geiste probieren, die Franziska produziert - und anschließend auch kaufen. Ein Gespräch über Vorläufe, Mittelläufe, Nachläufe und darüber, dass es Schnaps nicht gibt. Bild: erlebe.bayern - Florian Trykowski

In this episode, JNP talks with Jason Mittell, Professor of Film and Medias Culture at Middlebury College in Vermont. Author of several key manuscripts on television culture, Prof. Mittell is also a key figure in the development of videographic criticism in film and media studies. He and his colleague, Prof. Christian Keathly, have since 2015 offered several two-week intensive workshops on videographic criticism for scholars. Our discussion focused on the history of videographic criticism, its roots in avant garde film and video work, its connection to the digital humanities, as well as current practices and pedagogies. For more on videographic criticism, you can visit the website The Videographic Essay: Practice and Pedagogy (http://videographicessay.org/works/videographic-essay/index). You can also see examples of published videographic criticism at [in]Transition (http://mediacommons.org/intransition/). And check out Jason’s own videographic work on his Vimeo channel. (https://vimeo.com/jmittell) As a special treat, you can watch Jen Proctor’s remake of “A Movie” by Bruce Connors right here. (https://vimeo.com/11531028) And have a listen to The Video Essay Podcast (https://thevideoessay.com/work), hosted by Will DiGravio.

We discus yoga from a woman’s perspective and how our womb cycles and our family lives can be a portal into the deeper dimensions of the self and therefore yoga. Somewhere within this rich dialog we talk about flow states and how, with practise, we can tap in to these states with more regularity and ease.

Thala, Geweihte von Firun Syq, Goblinin aus dem Festumer Ghetto Jor Groscho Jahngrimm, Zwerg aus Xorlosch Eboreus Leshte, Mittelländischer Geheimagent begeben sich auf ein Abenteuer welches seinesgleichen sucht. Majestätische Drachen und ungeheure Gefahren, versunkene Schätze und lebendige Götter – streife als ruhmreicher Held durch strahlende Städte und unberührte Wildnis, begegne sagenhaften Kreaturen und finsteren Feinden, erlebe Abenteuer jenseits deiner Vorstellungskraft in einer Welt, die der unseren so ähnlich und doch so fremd ist. Mit seiner phantastischen Spielwelt, seiner lebendigen Geschichte und seiner aktiven Fangemeinde hat es Das Schwarze Auge (kurz: DSA) in den 30 Jahren seines Bestehens zum bekanntesten und erfolgreichsten deutschen Rollenspiel gebracht. Komm mit und werde Teil dieser Erfolgsgeschichte. Der Weg in jene wundersame Welt ist nicht weit und du gehst ihn auch nicht alleine. Vor allem aber wirst du nicht mehr zurück wollen.

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices