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Relevant bibliographies by topics / Division for Film and Broadcasting

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Academic literature on the topic 'Division for Film and Broadcasting'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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Journal articles on the topic "Division for Film and Broadcasting"

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Marcum, Deanna B. "United States Library of Congress: Expanding in Three Directions." Alexandria: The Journal of National and International Library and Information Issues 19, no. 2 (August 2007): 83–93. http://dx.doi.org/10.1177/095574900701900202.

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Visitors to the United States Library of Congress will find it in the midst of major expansions of three kinds – expansions to preserve what otherwise might be lost, to protect what it already has, and to make what it has more readily and widely accessible. One current kind of expansion takes the form of constructing a new complex of four buildings in the side of a mountain near the city of Culpeper in the state of Virginia, about an hour's drive from the library's main facilities in Washington, DC. This complex, named the Library of Congress Packard Center for Audio-Visual Conservation, will provide safe storage and new preservation and access systems for the film, video, and sound collections – 5.7 million items – administered by the library's Motion Picture, Broadcasting, and Recorded Sound Division. The library's second major current expansion consists of constructing off-site storage modules for other collections on the site of Fort Meade, a US Army installation in the state of Maryland, less than an hour's drive from Washington, DC. On this site, the library and its partners are finishing the third and fourth of a projected 13, high-density storage modules, designed to extend the life of parts of the library's holdings by a factor of six. The third major current expansion of the Library of Congress is on the Internet, where the library's website now offers some 10 million digitized items. Through financial and other partnerships, the library will continue to add to its online resources, and is working with UNESCO on a project to create a World Digital Library. This will be a collaborative virtual repository through which libraries worldwide provide access to rare, primary source materials, illustrating cultures in all parts of the globe, for the potential benefit of people everywhere.

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Jin, Huangping, Kewu Peng, and Jian Song. "Bit Division Multiplexing for Broadcasting." IEEE Transactions on Broadcasting 59, no. 3 (September 2013): 539–47. http://dx.doi.org/10.1109/tbc.2013.2254269.

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Boldyrev, Roman, and Jörg Morré. "Organizational Structure, Channels and Methods of Propaganda Work of the Soviet Military Administration in Germany, 1945–1949." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 5 (October 2019): 205–21. http://dx.doi.org/10.15688/jvolsu4.2019.5.15.

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Introduction. The paper deals with the issues of the propaganda system in the Soviet Occupation Zone in Germany (SOZ) between 1945 and 1949. Based on de-classified documents from Russian Archives propaganda organization, channels and methods of propaganda units of the Soviet Military Administration in Germany (SMAG) became a subject to study. The authors emphasize on control means towards German mass media and implementing the Soviet propaganda monopoly in East Germany. Methods and materials. The authors consequently analyze the main channels and methods of positive USSR image broadcasting: radio, press, SMAG propaganda unit lectures, people’s education system, activities of society for Soviet cultural studies, acquaintance trips of German delegations to the USSR, presentations of Soviet exhibitions and films. Analysis and Results. The authors come to a conclusion that the Soviet propaganda in East Germany had a low efficiency. It failed to establish a complete monopoly of Soviet propaganda units in East Germany. The SOZ population could access the propaganda from West Germany and West Berlin, which broadcast a radically negative image of the USSR. Besides, the units and institutions of the Group of Soviet Occupation Troops in Germany (GSOTG) created their own image of Soviet people, which was different from the ideal and broadcast one. Thus, it turned out to be impossible to provide the unification of the broadcast and perception of propagandist materials devoted to the USSR and its population. Soviet propaganda in Germany had gone through the transition by the late 1940s: division of Germany in two states appeared to be a reality, and the establishment of socialist society on Stalin’s model took place in East Germany. Ideological revisiting of the Soviet social constitution, and so its supremacy over the bourgeois one was to replace the conventional image of the country of total welfare and happiness.

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Jiachen Huang, Kewu Peng, Changyong Pan, Fang Yang, and Huangping Jin. "Scalable Video Broadcasting Using Bit Division Multiplexing." IEEE Transactions on Broadcasting 60, no. 4 (December 2014): 701–6. http://dx.doi.org/10.1109/tbc.2014.2361471.

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Le Floch, B., M. Alard, and C. Berrou. "Coded orthogonal frequency division multiplex [TV broadcasting]." Proceedings of the IEEE 83, no. 6 (June 1995): 982–96. http://dx.doi.org/10.1109/5.387096.

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Verbych, Nataliia. "Architectonics of dialect text (experemental phonetic analyasis)." Ukrainska mova, no. 3 (2020): 110–21. http://dx.doi.org/10.15407/ukrmova2020.03.110.

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Phonetics of Ukrainian dialects has long been and remains the object of analysis. Separate articles and thorough monographic studies confirm this. Researchers consider to describing the system-structural originality of speeches, establishing the composition of segmental units in different dialects, their significance in the phonological system of the dialect, systematizing knowledge about the manifestations and relationships of phonemes. Super segmental differences of Ukrainian dialects are insufficiently studied. Intonation is a collection of sound linguistic means that are used to express semantic, emotional, expressive and modal character of the phrase, communicative meaning and situational conditionality, stylistic color of the text and the individuality of dialect speakers’ expressive techniques. The value of intonation in organization of oral speech is determined by its function – segmentation, structuring and selection. The paper studies the intonation parameters that ensure the integrity of the text and perform the function of connecting its individual elements. The author described the super segmental organization of a dialect text, identified and explored prosodic means not only of a single word, phrase or phrase, described the relationship of these units within the text, taking into account its content and structure. The article focuses on the features of segmentation of the dialectal speech. This study shows the difference between real sound file and his fixing during an auditory analysis. Much attention is given to the difference between a syntax and real articulation of broadcasting. The study demonstrates that the intonation structure of the dialect text as a kind of spontaneous speech is peculiar. In dialect narratives, the relationship between syntax and pauses (as the most important markers of segmentation) is much more complex than in a read or pre-prepared text. In spontaneous dialect narratives, the correlation between content and form shifts due to the simultaneity and synchronicity of the processes of thinking, planning, and producing thought. In some parts of the text there is a violation of formal and grammatical connections, the boundaries of phrases / syntagmas are blurred, their prosodic design has no clear delimitative features, as in codified speech, which leads to variance in the division of the text into separate segments. Keywords: dialect narratives, intonation, contour, pitch, pause.

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Xu, Youyun, Xiaochen Xia, Kui Xu, and Dongmei Zhang. "On the hybrid relaying protocol for time division broadcasting." Transactions on Emerging Telecommunications Technologies 26, no. 5 (November 6, 2013): 893–904. http://dx.doi.org/10.1002/ett.2761.

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Cherny, R. W. "Before and after the Great Earthquake and Fire: Early Films of San Francisco, 1897-1916, http://memory.loc.gov/ammem/papr/sfhome.html. Created and maintained by the Motion Picture, Broadcasting, and Recorded Sound Division, Library of Congress, Washington, D.C. Reviewed June 30-July 1, 2008." Journal of American History 96, no. 2 (September 1, 2009): 634–35. http://dx.doi.org/10.1093/jahist/96.2.634-a.

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Zheng, Zi Wei. "Iterative Channel Estimation for the Chinese Digital Television Terrestrial Broadcasting Systems with the Multiple-Antenna Receivers." Advanced Engineering Forum 6-7 (September 2012): 439–44. http://dx.doi.org/10.4028/www.scientific.net/aef.6-7.439.

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Orthogonal frequency division multiplexing is an effective against multipath fading and high data throughput wireless channel transmission technology. Assistance with the inverse fast Fourier transform and fast Fourier transform operation, orthogonal frequency division multiplexing modulation and demodulation operations of the system convenient and convenient hardware implementation, orthogonal frequency division multiplexing, so in the modern digital television terrestrial broadcasting the system is widely used to support high performance bandwidth-efficient multimedia services. Broadband multi-carrier orthogonal frequency division multiplexing with multi-antenna and multi-antenna receiving system, to increase the diversity gain and improve the capacity of the system in different multipath fading channel. Accurate channel estimation in a simple channel equalization and decoding of broadband multi-carrier orthogonal frequency division multiple-antenna receiver and channel estimation accuracy and multiplexing system is very important, is the key to the performance of the overall broadband multi-carrier orthogonal frequency division multiplexing system in the multi-antenna receiver bit error rate. In this paper, iterative channel estimation to plan for digital terrestrial television broadcasting broadband multi-carrier orthogonal frequency division multiple antenna receiver multiplexing system proposal.

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Bergeron, A., J. Y. Chouinard, and Yiyan Wu. "NTSC in-band data broadcasting using orthogonal frequency division multiplexing." IEEE Transactions on Broadcasting 47, no. 4 (2001): 325–39. http://dx.doi.org/10.1109/11.979370.

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Dissertations / Theses on the topic "Division for Film and Broadcasting"

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Kim, Dukhyun. "Orthogonal frequency division multiplexing for digital broadcasting." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/13704.

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Smith, Kieron. "John Ormond and the BBC Wales Film Unit : poetry, documentary, nation." Thesis, Swansea University, 2014. https://cronfa.swan.ac.uk/Record/cronfa42379.

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This thesis is a detailed examination of the films of Swansea-born poet and BBC Wales documentary filmmaker John Ormond. It examines the uses of the documentary form within the context of a broadcasting institution that many have argued has been one of the central agents in the political and cultural development of this small nation. Given that the thesis is concerned with the work a decidedly creative figure, it seeks throughout to keep in focus Ormond's unique contribution to the documentary form. It begins with an interpretation of Ormond's broad cultural and philosophical framework as embodied in his poetry, and from here goes on to explore the ways in which this thinking impacted upon his approach to film as a medium and, particularly, the documentary as a cultural form. It positions Ormond's approach to documentary within the tradition of the Griersonian 'British Documentary Movement', in particular its post-war manifestations on British television as pioneered by producers such as Denis Mitchell, Norman Swallow and Philip Donnellan. Indeed, the thesis is, in part, an attempt to align Ormond's work with these better-known figures in British television history. The major aim of the thesis, however, is to explore the uses of this peculiarly civic cultural form within a minority national broadcasting context. To this end, it utilizes Jurgen Habermas's notion of the 'public sphere' as a lens through which to examine the ways in which Ormond's wide-ranging oeuvre interacted with and impacted upon a Welsh public sphere at a time of unprecedented political, economic, social, and cultural change. It distinguishes three broad areas of thematic concern - "culture", "historiography" and the "ethnographic" - and examines the ways in which Ormond's films reflect and contribute to a wide and shifting range of national discourses in this pivotal era in the history of Wales.

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Buckle, Christopher. "The 'War on Terror' metaframe in film and television." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.

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Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric towards those countries labelled the ‘Axis of Evil’ or ‘Outposts of Tyranny’ is as much a manifestation of the metaframe as the ‘Shock and Awe’ bombing of Baghdad. As a rhetorical frame, it is created through all of its utterances; its narrative may have been initially scripted by the Bush administration, but it is reified and naturalised by the news media and other commentators, who adopt the frame’s language even when critical of its content. Moreover, film and television texts participate in this process, with fiction-based War on Terror narratives sharing and supporting – co-constituting – the War on Terror discourse’s ‘reality’. This thesis argues that the War on Terror metaframe manifests itself in multiple interconnected narrative forms, and these forms both transcode and affect its politics. I propose a congruency between the frame’s expansiveness and its associational interconnections, and a corresponding cinematic plot-structure I term the Global Network Narrative. Elsewhere, an emphasis on the pressures of clock-time is evoked by the real-time sequential-series 24, while the authenticity and authority implied by the embedded ‘witness’ is shown to be codified and performed in multiple film and television fiction texts. Throughout, additional contextual influences – social, historical, and technological – are introduced where appropriate, so as not to adopt the metaframe’s claims of limitlessness and uniqueness, while efforts are made to address film and television not as mutually exclusive areas of study, but as suggestively responsive to one another.

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Kim, Ju Young. "Rethinking media flow under globalisation : rising Korean wave and Korean TV and film policy since 1980s." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1153/.

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The rising popularity of Korean contents in Asia known as Hanryu ('Korean Wave'), which was partly supported by Korean cultural policy, has many implications with regard to cultural policy in periphery countries under globalisation and the open-door versus cultural diversity debate. This thesis assesses how recent cultural opening under globalisation in Korea has affected Korea's cultural industries both quantitatively in terms of economic performance and qualitatively in terms of cultural content, identity and diversity. These questions are examined in the context of the changing relationship between the cultural industries and cultural policy in Korea since the end of the 1990s. The research draws upon statistical data, historical material and interviews. By researching how the Korean experience has developed, this thesis attempts to look at Hanryu not just as a phenomenon in its own right, but also considers the secondary impact of this phenomenon on perceptions of culture and identity. In particular the thesis considers Hanryu in terms of the cultural influence on neighbouring countries manifest through tourism and a new interest in Korean language and culture. Such cultural effects are less easily measured than economic data but are important to an understanding of causes and effects of Hanryu. Finally this thesis places the Korean experience in the broader context of cultural policy in periphery countries responding to globalisation and the relationship between national cultural policy and the global cultural economy. It is still too early to reach conclusions on the future of Korean cultural industries based simply on the recent trends However, since the mid 1990s, the Korean cultural industries have been transformed dramatically. Cultural policy has contributed to this trend and strengthened the competitiveness of Korea's cultural industries. At the same time the thesis considers some of the limitations and criticisms of Hanryu, including potential loss of cultural diversity and an anti- Korean backlash in some other Asian countries. The Korean cultural industries have benefited from imitating the Hollywood system and developing a distinctive hybrid cultural content and business model. This has made possible an alternative approach to policy and management which lies between two extremes of protectionism and free market ideology. The thesis comments on some of the difficulties and limitations in sustaining such a balance and concludes by considering the sustainability of Hanryu both in Korea and in the broader Asian context.

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Albrecht, Morgan. "Broadcasting from the Streets: The Counternarrative Potential of Livestreaming." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1130.

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As livestreaming has become more ubiquitous in recent years with its expansion over social media platforms, and as mainstream media outlets begin to take advantage of the medium, it is important to recognize that the technology has important roots in the hands of marginalized communities. Specifically, livestreaming has historically been an outlet used by activists in protest settings in order to counter the narratives of mainstream media. This paper seeks to evaluate the counternarrative potential of livestreaming by looking into footage from both the 2012 student protests in Montreal and the 2014 protests in Ferguson in direct comparison to traditional broadcast coverage from these events. Ultimately, I argue that while there are dangers that inherently accompany the use of livestreaming, it nonetheless has the potential to be a powerful and practical tool in the hands of protesters.

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Goode, Ian. "Voices of inheritance : aspects of British film and television in the 1980s and 1990s." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/35838/.

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During the 1990s the notion of the heritage film has become a taken for granted category of British cinema. Rather than dispute the merits of particular films that lie within this genre I question the construction of the relation between the idea of heritage and contemporary British film and television. Using the critical literature established by the contending cultural histories that address the rise of heritage in British culture, I highlight other, frequently personal and national engagements with inherited pasts. The concentration upon inheritance lends a greater emphasis to what is passed on from the past and endures in the present. The modes of articulating these inherited pasts are formally distinctive and constructed out of the vocabulary of documentary and fiction. The corpus of texts begins with the apparently radical avant garde film-making of Derek Jannan and moves through the work of the Black Audio Film Collective to the apparently conservative television documentaries of Alan Bennett. These key voices are then situated in relation to the hegemonic definition of heritage and current debates concerning British film and television. The persisting opposition which defined British cinema during the 1980s posits an unofficial cinema characterized by dissent and urban decay against an official cinema represented by the heritage film. My corpus of texts challenges this opposition. The different engagements with inherited pasts take place from different speaking positions and represent a diminishing publicly funded tradition of film and television production. The range of positions from margins to centre reveal that there was a contestation of the cultural sources which are aggregated into the construction of heritage during the 1980s and 1990s.

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Ivanisevic, Paunovic Jelena. "From Low Budget to Big Business : Releasing Strategies for Indeoendent Films and Industry Division." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-181523.

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The objective of this thesis is observing the process of launching the small independent movie in the context of big film industry and its hegemony. We will observe the differences between low budget, independent, the auteur film and well known ’blockbuster' entertainment cinema products. In the analysis, we will not focus on the creative aspects of preproduction and production - such as script writing, film directing, casting, photography, and production design. We will observe the film from the pragmatic point of view in postproduction, film placement and distribution, from the last clip to the first introduction to the audience at film festivals. The complexity of the task is to make a distinction between defining free, independent, auteur film as a piece of art and expression, and everything else that auteur film is not, despite the pragmatism in realisation of each film. This research will focus on film as art and as a sum of artistic teamwork, following its marketing and placement. Our aim is to find the factors that influence the success of launching low budget films of the independent film production in the US. Analysing the literature and researching the adequate examples, accomplished results will give us an idea of forming a pattern or directions for successfully launching an Independent film in the US film market. The example given in this paper is the authors' low budget film Boys Don't Cry(1999)produced by Chrisitne Vachon, where we can clearly analyse the way of developing of the film and postproduction activities of the producer, from the utmost postproduction margin, to winning an Oscar for the best female role by Hilary Swank, in the year of 2000. This film was chosen as an example in this thesis for being a successful low budget film with a strong women's author's identity, which finds its path in media from a marginalized queerfilm to a highly ranked film with great market placement. We pay special attention to an important detail - that women are in the role of the director and the producer.

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Arndt, Corinna. "Managing dissent : institutional culture and political independence in the South African Broadcasting Corporation's News and Current Affairs Division." Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/28269.

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Despite a fairly successful institutional transformation in the early 1990s, the South African Broadcasting Corporation (SABC), in particular its News and Current Affairs division, is widely perceived to lack political independence from the African National Congress-led government and to have neglected its role as a political watchdog in South Africa's young democracy. Most academic studies continue to be concerned with formal factors such as the SABC's institutional structure, media laws, or commercial imperatives -yet have not been able to explain the above anomaly. This paper focuses instead on the institutional culture around editorial independence which is conceptualised as comprising of beliefs (journalists' role perceptions), values (news values and the professional ethos) and internal practices (news decision-making, internal debate etc.). The main focus of analysis lies on the ways dissent is being managed within the corporation. This paper transcends the classical boundaries of political science into the neighbouring disciplines of media studies and sociology and draws specifically on (a) the literature on public broadcasting in young democracies, (b) debates around journalists' roles and professional values, and (c) conceptualisations of institutional culture as well as power and power relations within organisations. In-depth interviews with 17 current and former SABC employees suggest that beliefs and values around editorial independence are highly contested at the SABC - in particular among staff and management and so much so that the struggle around which ones should be dominant has become part of the institutional culture itself. The resulting dissent is being managed both from above (by management and senior editors) and from below (by newsroom staff). The SABC does not seem to be subject to unusual levels of political pressure from outside. Instead, threats to editorial independence seem to originate mostly on the level of the SABC's board and senior news management. They take the form of pressure and rewards which, in combination, effectively stifle independent thinking and hence work against editorial independence and a professional ethos integral to the SABC's public broadcasting mandate. Hirschman's concepts of exit, voice, and loyalty are used to analyse how journalists respond to such pressure and rewards. While exit is not an option for many staff and voice is perceived as costly, loyalty (towards the idea of public broadcasting) does not appear to be very common either. Instead, what I call opportunistic loyalty or quiescence in the face of power seems to be the preferred way of dealing with the dilemma of individually-held values and beliefs and a dominant institutional culture that runs contrary to them. As a result, debate is silenced, staff morale suffers, and routine processes of news decision-making are easily manipulated by senior managers or other powerful individuals with the will to enforce their preferred values and beliefs (which in tum might have little to do with the ideals of public broadcasting). Journalists and editors seem to generally be reluctant to get involved in sensitive news decisions, to take responsibility and exercise their professional judgement which then makes the corporation potentially vulnerable to political interference from outside as well.

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Gunn, Anthony C. "This Is SportsCenter: Performance and Performativity in Sports Broadcasting and Punditry." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3421.pdf.

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Taylor, Paul. "Responding to the shock of the new : trade, technology, and the changing production axis in film, television, and new media /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/6202.

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Books on the topic "Division for Film and Broadcasting"

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1948-, White-Hensen Wendy, Gillespie Veronica M, Harrison Harriet, and Theodore Roosevelt Association, eds. The Theodore Roosevelt Association film collection: A catalog. Washington: Library of Congress, 1986.

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Clear, Rebecca D. Jazz on film and video in the Library of Congress. [Washington, D.C.]: [Library of Congress], Motion Picture, Broadcasting and Recorded Sound Division, 1993.

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Lund, Karen C. American Indians in silent film: Motion pictures in the Library of Congress. [Washington, D.C: Library of Congress, 1992.

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Library of Congress. Motion Picture, Broadcasting, and Recorded Sound Division. Vietnam on film and television: Documentaries in the Library of Congress. [United States: s.n., 1989.

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W, Nishimura Douglas, Burge Daniel, Library of Congress. Preservation Directorate., and Rochester Institute of Technology. Image Permanence Institute., eds. Condition survey of motion picture holdings in the Library of Congress: Evaluation of storage environments for motion picture collections. [Washington, D.C: Preservation Directorate, Library of Congress, 1996.

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Townsend, David. Broadcasting, film and theatre. Manchester: Central Services Unit for University and Polytechnic Careers and Appointments Services, 1985.

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Lawrence, Wilson. Broadcasting, theatre, film and video. [Great Britain]: Careers Services Trust, 1994.

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Bognár, Desi K. International dictionary of broadcasting and film. 2nd ed. Boston: Focal Press, 1999.

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Bognár, Desi K. International dictionary of broadcasting and film. Boston, Mass: Focal Press, 1995.

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Wordsworth, Louise. Film and television. Austin, Tex: Raintree Steck-Vaughn, 1999.

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Book chapters on the topic "Division for Film and Broadcasting"

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Ryō, Namikawa. "Japanese Overseas Broadcasting." In Film & Radio Propaganda in World War II, 319–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003208457-15.

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Battaglia, Giulia. "Around the Films Division." In Documentary Film in India, 61–79. New York : Routledge, 2017. | Series: Routledge contemporary South Asia series: Routledge, 2017. http://dx.doi.org/10.4324/9781315147727-3.

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Fischer, Walter. "Coded Orthogonal Frequency Division Multiplex (COFDM)." In Digital Video and Audio Broadcasting Technology, 399–424. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-32185-7_19.

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Fischer, Walter. "Coded Orthogonal Frequency Division Multiplex (COFDM)." In Digital Video and Audio Broadcasting Technology, 345–67. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-11612-4_19.

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Andrews, Hannah. "Television as Film, Film as Television: Broadcasting Cinema in the 1990s." In Television and British Cinema, 58–82. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137311177_3.

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Gotoh, Yusuke, and Yuki Takagi. "Evaluation of Division-based Broadcasting System over Wireless LAN." In Advances on P2P, Parallel, Grid, Cloud and Internet Computing, 589–98. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-49109-7_56.

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Boswell, Matthew. "Post-Punk: Joy Division, Closer." In Holocaust Impiety in Literature, Popular Music and Film, 114–23. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358690_6.

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Gotoh, Yusuke, and Yusuke Inoue. "Proposition of Division-Based Broadcasting System for Delivering Multiple Videos." In Advances in Network-Based Information Systems, 1037–47. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-65521-5_95.

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Gotoh, Yusuke, and Keisuke Kuroda. "A Scheduling Method of Division-Based Broadcasting Considering Delivery Cycle." In Advances on P2P, Parallel, Grid, Cloud and Internet Computing, 86–94. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-61105-7_9.

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Sakurada, Tomoya, and Yusuke Gotoh. "Design and Implementation of Division-Based Broadcasting Using NS-3." In Advances on P2P, Parallel, Grid, Cloud and Internet Computing, 473–83. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-69835-9_44.

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Conference papers on the topic "Division for Film and Broadcasting"

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Senge, M. "High speed film scanning: resolution independent film-mastering." In International Broadcasting Convention (IBC). IEE, 1996. http://dx.doi.org/10.1049/cp:19960838.

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Grover, Pulkit, and Anant Sahai. "Time-division multiplexing for green broadcasting." In 2009 IEEE International Symposium on Information Theory - ISIT. IEEE, 2009. http://dx.doi.org/10.1109/isit.2009.5206047.

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Kim, Pansoo, Sung-Ik Park, Heung-Mook Kim, and Deock-Gil Oh. "Layered division multiplexing for satellite broadcasting system." In 2016 International Conference on Information and Communication Technology Convergence (ICTC). IEEE, 2016. http://dx.doi.org/10.1109/ictc.2016.7763413.

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Huang, Jiachen, Kewu Peng, Changyong Pan, Jian Song, Huangping Jin, and Zhisheng Niu. "Bit division multiplexing for MIMO broadcasting system." In 2014 International Wireless Communications and Mobile Computing Conference (IWCMC). IEEE, 2014. http://dx.doi.org/10.1109/iwcmc.2014.6906354.

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Kimura, Akihiro, Yusuke Gotoh, and Hideo Taniguchi. "TeleCaS: Division Based Broadcasting System Considering Sequential Playback." In 2012 15th International Conference on Network-Based Information Systems (NBiS). IEEE, 2012. http://dx.doi.org/10.1109/nbis.2012.105.

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6

Brightwell, P. J. "Automated correction of film unsteadiness, dirt and grain." In International Broadcasting Convention - IBC '94. IEE, 1994. http://dx.doi.org/10.1049/cp:19940829.

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7

Little, L. "Workflow strategies and requirements for a fully-integrated digital film environment." In International Broadcasting Conference (IBC). IEE, 1997. http://dx.doi.org/10.1049/cp:19971337.

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8

Briand, G., M. Lanouiller, J. M. Lavalou, J. F. Szlapka, F. Bidgolirad, E. Guillou, J. Lvoff, P. Bertolino, and M. Christie. "On-set previsualization for VFX film production." In International Broadcasting Convention (IBC) 2014 Conference. Institution of Engineering and Technology, 2014. http://dx.doi.org/10.1049/ib.2014.0037.

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9

Hunt, C. B. "Digital film workstations - evolution in the video compositing suite." In International Broadcasting Convention - IBC '94. IEE, 1994. http://dx.doi.org/10.1049/cp:19940757.

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10

Swinson, P. R. "Kloning the film image for digital high resolution systems." In International Broadcasting Conference IBC '95. IEE, 1995. http://dx.doi.org/10.1049/cp:19951005.

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Reports on the topic "Division for Film and Broadcasting"

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Papua and New Guinea Division - Educational Facilities - Dr Coombs, Mrs Coombs and Deputy Governor attended the premiere of Bank's Territory of Papua New Guinea film, 1964. Reserve Bank of Australia, March 2021. http://dx.doi.org/10.47688/rba_archives_pn-002483.

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