Bibliografías temáticas / Tonight Show

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Literatura académica sobre el tema "Tonight Show"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 10 de febrero de 2022

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Artículos de revistas sobre el tema "Tonight Show"

1

Williams, J. "The Tonight Show." Minnesota Review 2008, no. 70 (2008): 27–28. http://dx.doi.org/10.1215/00265667-2008-70-27.

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Pipke, Marisa. "Tonight Show with Marisa Pipke." Writing across the University of Alberta 1, no. 1 (2020): 1–4. http://dx.doi.org/10.29173/writingacrossuofa10.

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The following paper comes from a class where students were asked to write something related to class content but in a creative, risk-taking way. This assignment called for the students to explore a topic related to writing where some form of change in thinking had occurred. Students were also asked to imagine scenarios in which they could present class content in a fun, accessible way.
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Pramukti, Dita Intan, and Asep Purwo Yudi Utomo. "The implication of humor discourse in the Tonight Show television program." Journal of Social Studies (JSS) 15, no. 2 (2020): 145–62. http://dx.doi.org/10.21831/jss.v15i2.31939.

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Humor discourse is a form of language that deviates from the rules of speech and conversation principles. Humor is a form of contradiction or deviation from the constraints of language. One of the humor discourse that presents language use conditions with a particular speech strategy is NET TV Tonight Show. This television program may contain speech offenses at the event. This study aims to describe and explain the implicature of humor discourse in the Tonight Show. In this study, researchers used a qualitative approach with the content analysis method and the pragmatic theory approach. The da
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Aprilliani, Rizka, and Muhammad Gafar Yoedtadi. "Pengaruh Brand Image Judul Program terhadap Minat Menonton Program Talkshow Tonight Show Net TV." Prologia 4, no. 1 (2020): 53. http://dx.doi.org/10.24912/pr.v4i1.6428.

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Brand image is the perception and belief held by consumers, such as those in association and embedded in consumers memories. While the notion of interest is the tendency of someone to pay attention to some activities or activities that are liked by individuals. Tonight Shows a program that has an interest in watching the influence of the appearance of the program, and the host of the Tonight Show. This study uses quantitative survey methods for respondents in Taman Royal 2, Tangerang City. The results showed the effect of brand image on the interest in watching the Tonight Show talkshow progra
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Kipya, Maryatul, Diana Rozelin, and Muhammad Beni Saputra. "FLOUTING THE MAXIM IN CONVERSATION AT ELLEN DEGENERES SHOW AND THE TONIGHT SHOW STARRING JIMMY FALLON." Nazharat: Jurnal Kebudayaan 25, no. 2 (2019): 81–97. http://dx.doi.org/10.30631/nazharat.v25i2.18.

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This research analyzes flouting the maxim in conversation at Ellen DeGeneres Show and The Tonight Show Starring Jimmy Fallon, in these talk shows flouting the maxim appears, it causes the speaker and hearer being misunderstanding and not cooperative in the conversation. The aims of this research are to find out the type of flouting the maxim, to know the strategies of flouting the maxim used and to know politeness principle in conversation at Ellen DeGeneres and The Tonight Show Starring Jimmy Fallon.the writer uses the maxim theory by H. Paul Grice (1973) that discusses about types of Floutin
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Kessler, Sarah. "Alone Again Tonight: Russian Doll." Film Quarterly 73, no. 2 (2019): 23–30. http://dx.doi.org/10.1525/fq.2019.73.2.23.

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Russian Doll is a show about two people who are “dying all the time” in every sense of the phrase. As co-protagonists Nadia Vulvokov (Natasha Lyonne) and Alan Zaveri (Charlie Barnett) each fight grueling emotional battles, they also literally die, expiring and respawning over and over again like characters in a videogame. When Nadia and Alan meet and discover that they're dying at the same time, they become uneasy partners in trying to game the loop that dominates their lives—or rather their deaths. In foregrounding the interracial, (mostly) platonic, queer-tinged connection that results from
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Rahmayani, Fitri Ana. "Cross Cultural Pragmatics: Compliment Response Strategy Used on the British and Indonesian Talk show." IDEAS: Journal on English Language Teaching and Learning, Linguistics and Literature 8, no. 2 (2020): 384–97. http://dx.doi.org/10.24256/ideas.v8i2.1541.

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This research aims at comparing the pattern of compliment response strategy used by two different cultures between British’s and Indonesia’s talk show. The method used is descriptive qualitative research. The data is taken from “Loose Women” (British Talk Show) and “Tonight Show” (Indonesian Talk Show). The data collections are done as follows: first, download the video of “Tonight Show” and “Loose Women”. Second, observed both videos and then compared the video. The last transcribed the compliment response and then choose the pattern of compliment response strategy based on the theory of (R.
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Faiz, Ahmad. "CODE-SWITCHING USED BY SACHA STEVENSON IN TALK SHOWS." SUAR BETANG 12, no. 2 (2018): 209. http://dx.doi.org/10.26499/surbet.v12i2.32.

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This research investigates the use of types and functions of code-switching used by Sacha Stevenson as a guest star in Tonight Show and Sarah Sechan on NET TV. Tonight Show and Sarah Sechan are two popular talk shows on NET TV. In order to find the type and the function of code-switching used, the writer uses descriptive qualitative approach. The data is in the form of conversation. In order to collect the data, the writer compiles videos based on the sequence and the context of the conversation. The result shows that the types of code-switching found in both sources are intra-sentential code-
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Goranskij, V. P., та A. V. Kusakin. "Unusual Mode Changes in the δ Scuti Type Variable Star FL Cancri". International Astronomical Union Colloquium 185 (2002): 330–31. http://dx.doi.org/10.1017/s0252921100016389.

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AbstractOn the base of 105 hour photoelectric monitoring, we show that FL Cnc is a multiperiodic δ Set type variable with rapid night-tonight changes of the amplitudes of the periodic components in the Fourier spectra. We observed an event of pulsating frequency doubling on a time scale of a week, which was treated as an azimuthal mode change.
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Gentile, John S. "Early examples of the biographical one‐person show genre:Emlyn Williams as Charles Dickensand Hal Holbrook'sMark Twain tonight!" Literature in Performance 6, no. 1 (1985): 42–53. http://dx.doi.org/10.1080/10462938509391594.

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Tesis sobre el tema "Tonight Show"

1

Hite, Katherine Blake. "Entertainment Bias: A Case Study of the Tonight Show and the California Gubernatorial Recall Election in 2003." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/33185.

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This thesis looks at entertainment bias, specifically bias on the Tonight Show with Jay Leno towards Arnold Schwarzenegger during the time leading up to the California recall election in 2003. Entertainment media possess a unique ability to communicate messages to an unguarded audience, which gives them the potential to have more of a political impact than traditional news media. The basic theory is that Jay Leno showed political bias in his monologues towards his friend and gubernatorial candidate, Arnold Schwarzenegger. This theory was tested through a highly detailed descriptive analysis
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Amorosi, Luca. "Tra informazione e intrattenimento: Proposta di sottotitolaggio di due episodi del Last Week Tonight with John Oliver." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/12742/.

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L'obiettivo principale della presente tesi è di introdurre le questioni relative al sottotitolaggio di due episodi del programma televisivo americano denominato The Last Week Tonight with John Oliver, condotto dal comico John Oliver e in onda su HBO ogni domenica in seconda serata. Il lavoro è suddiviso in tre capitoli principali. Il primo si propone di spiegare il processo di sottotitolazione da un punto di vista teorico, con una particolare attenzione dedicata ai criteri e alle tecniche del sottotitolaggio, oltre che alle nuove tecnologie sia per la creazione di sottotitoli, sia per la fruiz
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Hoffman, Anna. "The John Oliver Effect: Political Satire and Political Participation Through Social Networks." Kent State University Honors College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1450381528.

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Rato, Anabela Alves dos Santos. "Interacção conversacional do Talk Show televisivo: institucionalidade e género nas entrevistas de Late Night with Conan O'Brien e The Tonight Show with Jay Leno." Master's thesis, 2009. http://hdl.handle.net/1822/23080.

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Dissertação de mestrado em Língua, Literatura e Cultura Inglesas<br>O presente trabalho, que se inscreve nas áreas de investigação da Análise Conversacional e da Sociolinguística, pretende investigar as estratégias discursivas e linguísticas que regem a organização da interacção conversacional das entrevistas dos talk shows televisivos. Partindo de um corpus de análise constituído por transcrições de vinte e quatro entrevistas dos talk shows nocturnos Late Night with Conan O’Brien e The Tonight Show with Jay Leno, transmitidos pelo canal norte-americano NBC entre Setembro de 2008 e Janei
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Summergrad, Sophie. "Can we talk? A discussion of gender politics in the late-night comedy career of Joan Rivers." Thesis, 2016. https://hdl.handle.net/2144/17118.

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Television has often been considered a safe haven for female performers, especially comedians. But in fact, women have often been marginalized – narratively and institutionally – within the medium of television. While there has been a promising increase in the number of creative and professional opportunities afforded to women in TV, there is one arena in which women have historically been, and continue to be, excluded: late-night comedy. As the first female late-night talk show host, Joan Rivers is central to the history of broadcast television and American comedy. While some (but not much) w
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Libros sobre el tema "Tonight Show"

1

Kasoff, Sy. Odyssey: Early days on the Tonight show starring Johnny Carson : fun and games, insights and observations, from someone who was there at the beginning. AuthorHouse, 2008.

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Bill, Carter. The late shift: Letterman, Leno, and the network battle for the night. Hyperion, 1994.

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The war for late night: When Leno went early and television went crazy. Viking, 2010.

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Sweeney, Don. Backstage at The tonight show: From Johnny Carson to Jay Leno. Taylor Trade Pub., 2006.

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Inventing late night: Steve Allen and the original Tonight show. Prometheus Books, 2005.

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Bowen, Barbara. Dear Johnny: Johnny Carson's most hilarious & bizarre fan mail. Optima Books, 1993.

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Here's Johnny!: Thirty years of America's favorite late-night entertainer. Cumberland House, 2002.

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Stephen, Cox. Here's Johnny!: Thirty years of America's favorite late - night entertainment. Harmony Books, 1992.

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Here's Johnny! / Ed McMahon. Berkley Boulevard, 2006.

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10

Here's Johnny!: My memories of Johnny Carson, the Tonight show, and 46 years of friendship. Rutledge Hill Press, 2005.

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Capítulos de libros sobre el tema "Tonight Show"

1

"Part Two. How to Succeed in Show Business without Really Talking." In Right Here on Our Stage Tonight! University of California Press, 2019. http://dx.doi.org/10.1525/9780520944862-003.

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O’Meara, Jennifer. "Identity Politics and Vocal “Whitewashing” in Celebrity Lip-Syncs." In Media Ventriloquism. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197563625.003.0007.

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The popularity of celebrity lip-syncing in contemporary media culture often lies in the presentation of racial and/or gender-based disjunctions between the connotations of the voice that is heard and the body that is seen. This chapter argues that such racial ventriloquism can be conceived as vocal “whitewashing,” which involves changing a preexisting vocal performance by a person of color into one by a white person. With a focus on two performances by white actors (Paul Rudd and Emma Stone) on The Tonight Show Starring Jimmy Fallon and a contrasting performance by a Black actor (Taraji P. Henson) on Lip Sync Battle, the chapter contextualizes and historicizes the trend in which white celebrities “try on” the voices of singers of color. It demonstrates how the racial ventriloquism involved in such lip-syncs intersects problematically with histories of cultural appropriation in the US film and music industries.
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