Relevant bibliographies by topics / Film and television

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film and television'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Film and television"

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Barber, Sian. "Discovering film on Irish television: fragments from RTÉ archives 1960–5*." Historical Research 91, no. 254 (October 22, 2018): 791–809. http://dx.doi.org/10.1111/1468-2281.12242.

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Abstract This work explores film and television in Ireland in the early nineteen-sixties. Focusing on national broadcaster Telefís Éireann (RTÉ), it uses archival programme footage and broadcast listings to examine television's relationship with film and cinema. This material, which includes excerpts from arts and culture programmes and interviews with actors, suggests an intersection between film, cinema and television in nineteen-sixties Ireland.
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Xiong, Bing. "A Study of Dialect Films Subtitle Translation Strategies Guided by the Theory of Functional Equivalence — Taking the Dialect Film "A Cool Fish" as an Example." Journal of Higher Education Research 3, no. 4 (August 5, 2022): 359. http://dx.doi.org/10.32629/jher.v3i4.964.

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Subtitle translation is a field of translation where the subtitles of films or TV series are translated simultaneously. With the development of China's film and television industry and the inflow of outstanding foreign films and TV dramas, subtitle translation for film and television is flourishing.Due to the constraints of space and time, film and television subtitles are generally characterised by the following features: synchronicity, brevity and clarity, accessibility, colloquialism and a high degree of aesthetics. In recent years, the Chinese film and television industry has gradually begun to tell the stories of marginal characters, who are mostly told in dialect. In the vast expanse of China, according to incomplete statistics, there are about seventy dialects, which are officially divided into ten broad categories. Replacing Mandarin with dialects in film and television dramas not only reflects the regional characteristics and makes the audience feel more immersed, but dialect films are also highly aesthetic works of art with a cultural load. In this paper, we will analyse the dialect subtitle translation in the famous 2018 dialect film A COOL FISH from the perspective of the theory of functional equivalence, providing a detailed analysis of which for dialect words, sentences and rhetoric.
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Ma, Youwen, and Yi Wan. "Data Analysis Method of Intelligent Analysis Platform for Big Data of Film and Television." Complexity 2021 (April 16, 2021): 1–10. http://dx.doi.org/10.1155/2021/9947832.

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Based on cloud computing and statistics theory, this paper proposes a reasonable analysis method for big data of film and television. The method selects Hadoop open source cloud platform as the basis, combines the MapReduce distributed programming model and HDFS distributed file storage system and other key cloud computing technologies. In order to cope with different data processing needs of film and television industry, association analysis, cluster analysis, factor analysis, and K-mean + association analysis algorithm training model were applied to model, process, and analyze the full data of film and TV series. According to the film type, producer, production region, investment, box office, audience rating, network score, audience group, and other factors, the film and television data in recent years are analyzed and studied. Based on the study of the impact of each attribute of film and television drama on film box office and TV audience rating, it is committed to the prediction of film and television industry and constantly verifies and improves the algorithm model.
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Xie, Zheng. "The Symmetries in Film and Television Production Areas Based on Virtual Reality and Internet of Things Technology." Symmetry 12, no. 8 (August 18, 2020): 1377. http://dx.doi.org/10.3390/sym12081377.

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To enrich the form of film and television production, improve the level of film and television production, and satisfy the film-watching experiences of audiences, based on Virtual Reality (VR) and the Internet of Things (IoT) technology, with the help of S3 Studio Max and Photoshop software, a VR film-watching system is built, which realizes the interaction with users on different devices through somatosensory interaction sensors. In addition, by utilizing Twirling720, the panoramic sound recording is achieved. Through this system, a smart IoT platform between users, films, and devices is built. Finally, this platform is utilized to produce the film and television work Van Gogh in Dream, which is evaluated and analyzed through questionnaires. The results show that the technology system of this set of film and television production is complete, and the production level of film and television works have been significantly improved. The audience recognition of film and television production based on this technology is 55%, and the impression evaluation is over 56%. However, knowledge acquisition is only 20%, and historical understanding is above 50%. These dimensions show that compared with traditional film production, artificial intelligence films can bring a better experience to audiences, but knowledge acquisition is less. Therefore, professional knowledge will be improved at the later stage. The above results provide a theoretical basis for the application of artificial intelligence technology in film production and production mode.
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Sexton, Max. "The Origins of Gritty Realism on British Television: Euston Films and Special Branch." Journal of British Cinema and Television 11, no. 1 (January 2014): 23–40. http://dx.doi.org/10.3366/jbctv.2014.0190.

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Euston Films was the first film subsidiary of a British television company that sought to film entirely on location. To understand how the ‘televisual imagination’ changed and developed in relationship to the parent institution's (Thames Television) economic and strategic needs after the transatlantic success of its predecessor, ABC Television, it is necessary to consider how the use of film in television drama was regarded by those working at Euston Films. The sources of realism and development of generic verisimilitude found in the British adventure series of the early 1970s were not confined to television, and these very diverse sources both outside and inside television are well worth exploring. Thames Television, which was formed in 1968, did not adopt the slickly produced adventure series style of ABC's The Avengers, for example. Instead, Thames emphasised its other ABC inheritance – naturalistic drama in the form of the studio-based Armchair Theatre – and was to give the adventure series a strong London lowlife flavour. Its film subsidiary, Euston Films, would produce ‘gritty’ programmes such as the third and fourth series of Special Branch. Amid the continuities and tensions between ABC and Thames, it is possible to discern how economic and technological changes were used as a cultural discourse of value that marks the production of Special Branch as a key transformative moment in the history of British television.
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Jin, Haina. "When a beautiful daughter-in-law meets Africa: Translating Chinese films and television programmes for the African market." Journal of African Cinemas 12, no. 1 (March 1, 2020): 17–30. http://dx.doi.org/10.1386/jac_00025_1.

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There has been a long-standing cooperative relationship between the Chinese film industry and African film industries since the 1950s. In recent years, more and more Chinese film and television studios have sought to sell their products abroad, which has meant investing in translation. In order to project the image of a modern China with a rich cultural heritage, the State Administration of Radio, Film and Television (SARFT) launched the ‘Sino-Africa Film and Television Cooperation Project’ to promote the translation and dissemination of Chinese films and television products in Africa. As a result, two models for this translation process have emerged: one government sponsored and one commercial. This article will use the translation of Chinese film and television programmes for Tanzania as a case study to analyse how each model is institutionally organized, their target audiences and approaches to distribution and the content of the resulting translations.
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Shirobokov, A. N. "DOCUMENTARY TELEVISION FILM." RUDN Journal of Studies in Literature and Journalism 22, no. 2 (2017): 361–67. http://dx.doi.org/10.22363/2312-9220-2017-22-2-361-367.

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Jun. "Crossing, Leaping and Transcendence：Analysis of Pakistani Film and TV dramas Released in China." Pacific International Journal 5, no. 2 (June 30, 2022): 19–30. http://dx.doi.org/10.55014/pij.v5i2.188.

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Abstract: The friendship between Pakistan-China is deeply rooted in the hearts of people of the two countries. The exchanges and mutual learning through the film, television and drama playeda significance role to strengthen the bond among the people of both countries. Since the establishment of diplomatic ties between the two countries, the exchange of film and television products have gone through ups and downs, and the dissemination of Pakistani film and television products have also experienced twists and turns. In 2020, the Pakistani film " Parwaaz Hai Junoon " was released in China, which aroused some response and gave impetus to cultural exchanges. It also open doors for Pakistani films and drama in China. Despite the improvement of the quantity and quality of Pakistani film and television products, these could not spread in China mainland at greater extent, with the advent of the era of "mixed war", the conflict of values has become a problem that should be addressed in film and television communication. The bilateral political trust, ideological security demand at present, ask for promotion of cross-cultural communication through film and television products. There should be mechanisms, which can help to overcome obstacles actively, expand new path, clever use of all kinds of social and short video platform. Pakistani film in China should also ensure communication quality at all level and at the same time boost the cooperation between two countries field of film and television products. The in-depth exchanges and high-level mutual learning in the fields of film and television between China and Pakistan are worth looking forward to.
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Hou, Xinyan. "Research on the Conception of Auditory Creation of Film and Television Directors." Arts Studies and Criticism 3, no. 5 (November 16, 2022): 324. http://dx.doi.org/10.32629/asc.v3i5.1066.

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In the process of film and television director's creation, a very important work is audio-visual conversion, but there are few relevant materials about the director's auditory creation idea. For novice film and television directors, auditory design is abstract at the beginning, and they cannot grasp what is the key point. Film and television director is the core character in film and television creation,who is also the responsible person in film and television work quality control. The quality of a work of art is closely related to the script. From the aspect of film and television creation, the level of audio-visual creation, the skill of visual creation and the ability of director artistic creation are closely and directly related. Under normal circumstances, the director will do two things strictly during the creation of film and television works. First, the film and television structure should be reasonably planned. Second, the hierarchical composition of film and television creation elements should be strictly controlled. The process of film and television creation means to choose the structure of film and television works, and strive to be real in the process of selection, from a small shot to the whole film, so as to form an organic whole. When selecting materials, film and television directors also need to make special treatment on the basis of film and television creation effects, and make use of different elements to form different film and television levels and film and television structures, so as to provide conditions for achieving the expected artistic effects.
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Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.

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The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.
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Dissertations / Theses on the topic "Film and television"

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Felix, José Carlos. "Film and television adaptation." Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87828.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente
Made available in DSpace on 2012-10-22T02:29:14Z (GMT). No. of bitstreams: 0
A presente pesquisa tem como objetivo principal investigar o processo de adaptação de filmes baseados em textos literários em relação ao contexto histórico e social em que eles foram produzidos. Desta forma, a pesquisa apresenta uma análise comparativa de duas versões cinematográficas da peça do dramaturgo Tennessee Williams A Streetcar Named Desire produzidas em momentos históricos distintos, a primeira para o cinema, dirigida por Elia Kazan (1951) e a outra feita para a televisão, dirigida por Glenn Jordan (1995). Uma discussão sistemática sobre o processo de
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Anderson, Michelle E. "Televising truth commissions: the interaction between television, perpetrators, and political transition in South Africa." Doctoral thesis, Faculty of Humanities, 2020. http://hdl.handle.net/11427/32442.

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This research explores the portrayals of perpetrators in television broadcast coverage of truth commissions within politically transitioning societies, particularly how these discourses may influence the perceptions and experience of transition out of conflict. It focuses on the narratives constructed around apartheid-era perpetrators who participated in the South African Truth and Reconciliation Commission (TRC) as shown by the South African Broadcasting Corporation's (SABC) weekly broadcast, Truth Commission Special Report. It also considers how this informs perpetrators in speaking about their own histories. The SABC broadcasts aired between the 21st of April 1996 and the 29th of March 1998. It acted as a key news source on the workings of the TRC for a large group of citizens. An average of 1.1 to 1.3 million people tuned in each week for the first year, and an average of 510,000 people tuning in during its second year on air.1 The TRC hearings were recorded and filmed, and parts of these recordings were included in the SABC programme, along with further research by Special Report journalists. This included stories from the apartheid era that were not told through the TRC, further interviews with perpetrators, victims, bystanders, and communities, as well as reference to news and legal documents. As SABC describes it, the Truth Commission Special Report series “contributed to the TRC's pursuit of revealing the truth about, and engendering a deeper engagement with, South Africa's past conflicts.”2 The series was hosted and produced by well-known anti-apartheid journalist and Afrikaner Max du Preez, whose own identity became central to the narrative put forth. His team of journalists and producers included other Afrikaners such as his long-time colleague Jacques Pauw, and the young Anneliese Burgess. Otherwise, “his team of journalists varied over the twenty-three months of the series, generally including five and seven people who were racially, ethnically, and linguistically diverse.”3 As South Africa transitioned out of the apartheid state, transparency of the transitional mechanisms taking place was essential for the transformation of governance and the appearance of accountability.4 This demand acted as one of the driving forces for the intense media involvement in the country's chief transitional process, namely the TRC. This research hinges on the hypothesis that the media's involvement in the South African transitional process went beyond the provision of transparency and may have influenced people's perceptions and experience within the transition per assertions by scholars such as Parver and Wolf, Fischer, Kent, and Mihr, 5 among others. It uses this as a starting point to then investigate the series' narrative as a source of these perceptions and the subsequent experiences of the subjects. This points not only to outcomes, but also their influencing factors with the intent to suggest recommendations for more intentional media coverage of political transitions, with perpetrators being one facet of such.
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Frame, Gregory. "The American president in film and television." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57046/.

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This thesis examines the representation of the American president in fictional films and television programmes, as well as documentary film and photography. It engages broadly with the subject’s entire history, but focuses particularly on the past two decades (1992-2012). Its primary method is close textual analysis, departing from pre-existing studies that are largely preoccupied with questions of verisimilitude and historical accuracy. The construction of the cinematic and televisual presidencies requires a simultaneous negotiation of the ‘real’ political/historical record, and the desire to reproduce and reinforce the representational genealogies inherited from cinema and television’s own histories (not necessarily all explicitly ‘political’). My research has found the presidency to be overwhelmingly reliant upon mythological discourses about American national identity, and traditional conceptions of masculinity. How these constructions impact upon the representation of the president in relation to the contexts from which the films and programmes emerge is of crucial importance. The conception of the presidency has undergone enormous change since the early 1990s. The end of the Cold War, the increased scrutiny of the mass media, 9/11 and the ‘war on terror’, and the economic crisis, have either challenged or reinforced the notion that the president is an omnipotent force, able to bend the world to his will. The strategies cinema and television have employed to address these changes is of crucial significance to this thesis. This thesis will establish the manner in which techniques of mainstream film and television production – genre, visual style, iconography, and narrative – have impacted upon the reinforcement or critique of the presidential myth. As the presidency has suffered relative decline in a more diffuse geopolitical environment, this thesis demonstrates the extent to which the myth of the presidency has required the intervention of mainstream cinema and television to ensure its preservation.
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Tooke, Nichola Carole. "Tele-tourism : investigating the inter-connections between television and tourism." Thesis, University of Bristol, 1999. http://hdl.handle.net/1983/423caed8-6927-400b-b857-d0a2c45ec8b5.

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Johns, Jennifer L. "Tracing the connections : Manchester's film and television industry." Thesis, University of Manchester, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676506.

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Mullin, Romano Francis. "Reimagining the Renaissance : afterlives in literature, film and television." Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728197.

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Walsh, Angela. "Obscene intimacies : postmodern portraiture in documentary film and television." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54728.

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The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. Following an overview of the scholarship relevant to my research in Chapter One, Chapter Two will discuss two films by the documentary filmmaker Nick Broomfield, Heidi Fleiss: Hollywood Madam (1995) and Aileen: Life and Death of a Serial Killer (2003). Often maligned in both critical and scholarly circles for failing to interrogate ideology in any meaningful way, I argue that his work operates on a reflexive level to suggest that images fail us when attempting to extract the intimate truth of the individual. In Chapter Three I discuss two examples of reality television series that focus on the lives of individuals, Errol Morris’s First Person (IFC, 2000-2001) and Intervention (A&E, 2005 - ), which demonstrate the persistent need to render the subject in visual terms and make the viewer witness to the most intimate and personal aspects of their lives.
Arts, Faculty of
Theatre and Film, Department of
Graduate
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Han, Heeju. "Galdosian novels adapted in film and television 1970-1998 /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264320.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2007.
Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1958. Adviser: Maryellen Bieder. "Title from dissertation home page (viewed Jan. 12, 2008)."
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Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema." Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.

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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.
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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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Books on the topic "Film and television"

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Film and television. New York NY: Ferguson, 2009.

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Jane, Pelusey, ed. Film and television. Philadelphia: Chelsea House, 2005.

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

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

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Institute, British Film. Film and television handbook. London: British Film Institute., 1989.

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Armer, Alan A. Directing television and film. 2nd ed. Belmont, Calif: Wadsworth Pub. Co., 1990.

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Directing television and film. Belmont, Calif: Wadsworth Pub. Co., 1986.

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Institute, British Film, ed. Film and television yearbook. London: British Film Institute, 1986.

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McMahon, Barrie. Real images: Film & television. South Melbourne: Macmillan, 1986.

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Film and television acting. Boston: Focal Press, 1993.

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Book chapters on the topic "Film and television"

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Kääpä, Pietari. "Film and television." In Environmental Management of the Media, 187–206. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge studies in environmental communication and media: Routledge, 2018. http://dx.doi.org/10.4324/9781315625690-9.

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Rockler-Gladen, Naomi. "Film and Television." In Race/Gender/Class/Media, 141–44. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351630276-31.

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Lind, Rebecca Ann. "Film and Television." In Race/Gender/Class/Media, 154–211. 5th ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003193708-7.

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Coelho, Inês Rebanda. "Cinema and Television." In Philosophy and Film, 319–41. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-19.

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Sanders, Steven. "Television Noir." In A Companion to Film Noir, 440–57. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118523728.ch26.

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Adler, Thomas P., and Nicolas Tredell. "Film and Television Adaptations." In Tennessee Williams, 115–26. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_10.

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Hill, John. "From Television into Film." In Ken Loach, 104–33. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92473-8_6.

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Bautz, Annika, and Nicolas Tredell. "Film and Television Adaptations." In Jane Austen, 124–33. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-07706-6_8.

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Kirby, David A. "Film, Radio, and Television." In A Companion to the History of Science, 428–41. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118620762.ch30.

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Hueth, Alan C. "Film and television drama." In Scriptwriting for Film, Television, and New Media, 129–53. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429461361-6.

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Conference papers on the topic "Film and television"

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Sun, Jing. "On Film and Television Education for Film and Television Industry." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesame-18.2018.31.

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Dickson, Stewart, and Bill Villarreal. "The Gemini Process: A Theatrical-Quality Video-to-Film Transfer Process." In SMPTE Television Conference. IEEE, 1989. http://dx.doi.org/10.5594/m00737.

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Lucht, Philip. "Variable-Resolution Rendering System Extends Television Animation Graphics to Film and Print Media." In SMPTE Television Conference. IEEE, 1987. http://dx.doi.org/10.5594/m00876.

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Li, Xinxin. "Study on Film and Television Literature Criticism." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.94.

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Yang, Lun. "The Art of Film and Television Packing." In 2016 International Conference on Education, Management and Computer Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemc-16.2016.40.

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Hodge, Winston, Bill Harvey, and Robert S. Block. "A Film Quality Digital Archiving & Editing System." In SMPTE Advanced Television and Electronic Imaging Conference. IEEE, 1993. http://dx.doi.org/10.5594/m00673.

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BIAN, YI-DUO. "THE IMPORTANCE OF FILM AND TELEVISION WORKS TO THE DISSEMINATION OF THE SPIRIT OF THE TIMES." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35689.

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As an important part of culture, film and television plays an important role in the dissemination of the spirit of the times. Film and television works use lens language and three-dimensional visual way to tell the development of the times and highlight the spirit of the times. It is precisely because of the era responsibility of film and television works that how to make film and television works play a greater role in the dissemination of the spirit of the times has become a new research topic.
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Ning Guan, Hiroiku Tayama, and Koichi Ito. "A film antenna for digital terrestrial television reception." In 2010 IEEE International Symposium Antennas and Propagation and CNC-USNC/URSI Radio Science Meeting. IEEE, 2010. http://dx.doi.org/10.1109/aps.2010.5561242.

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Jing, Jiayi. "Analysis of Fashion in Film and Television Works." In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.277.

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Suter, Rae. "The Reduction of Domestication of Anime on American Television Over Four Decades." In – The Asian Conference on Media, Communication and Film 2021. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022.5.

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Reports on the topic "Film and television"

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Paslavskyi, Ihor. Ukrainian television: problem-content analysis. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11397.

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The article highlights and analyzes the factors influencing the activities of television editorial teams in the period of new political, economic and security circumstances. It is noted that all-Ukrainian influential television channels, which have the highest popularity and high ratings, are oligarchic media with a high level of political involvement. Ukrainian television is widely practicing to narrow the thematic range of programs, reports and programs resulting in unjustified dominance in the television space of entertainment and humorous genres, «ravel journalism», excessive overweight of foreign programs and of obsolete quality film production. In the news programs, some TV companies, including 1 + 1, widely emphasize negative issues that are not typical of Ukrainian society, which often has a petty, urban and secondary status. Instead, a wide range of real, socially important, topical issues and problems remain out of the professional attention of journalists, analysts and experts. Guided only by the criterion of rating programs, programs, stories, topics and problems, TVs lose the most active segment among the audience – critical thinking, knowledgeable, erudite recipient, who, choosing an information resource, increasingly prefers the internet journalism.
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Smith, N. A., K. J. Austin, J. Lecocq, D. Lewis, G. Major, T. K. Nielsen, G. Page, and P. Schwarcz. Guide for the Lighting of Sports Events for Colour Television and Film Systems, 3rd Edition. International Commission on Illumination (CIE), April 2019. http://dx.doi.org/10.25039/tr.083.2019.

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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