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Journal articles on the topic 'Industrial television'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

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1

Rincón, Omar. "New Television Narratives: Entertainment, Telling, Citizenship, Experimental." Comunicar 18, no. 36 (2011): 43–50. http://dx.doi.org/10.3916/c36-2011-02-04.

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Broadcasting and industrial television is a trip back to the past, to a space devoid of meaning, and to the boredom resulting from its moral conservatism, lack of creativity, thought and entertainment. But television’s monopoly over public screening is over; now, anyone can be a producer, an audiovisual narrator with his or her own screen. New television and other screens are daring to change the way stories are told: a more subjective, testimonial and imagebased journalism; a hyperrealist soap opera that dares to bring melodrama to comedy, documentary and local cultures; a bottom-up media wit

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2

Kolomiets, Viktor. "Industrial Transformation of Television." Sotsiologicheskie issledovaniya, no. 6 (June 2021): 92–100. http://dx.doi.org/10.31857/s013216250015558-6.

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Sudibyo, A. G. "Analisis Struktur Pasar Industrial Pertelivisian Di Indonesia." InterKomunika 1, no. 1 (2016): 1. http://dx.doi.org/10.33376/ik.v1i1.2.

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This research is aimed to analyze the television industrial media market structure in Indonesia. The perspective qualitative description `is used to collect data by applying the in-depth interview with some key figures in the television media industry, and relevant references. By using The Industrial Organizational Model Prespective in the economic media theoretical framework, this research is to analyze the aspect of market structure, regulations, economic and political system that influence the television media market in Indonesia. The result shows that the market is oligopoly high competiti

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Borisov, Vasily. "Amateur Radio Activity in the USSR before World War II." Science Management: Theory and Practice 4, no. 3 (2022): 189–98. http://dx.doi.org/10.19181/smtp.2022.4.3.13.

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The article discusses the emergence and development of amateur activities in radio communications and television reception in the USSR. Amateur radio activity in the USSR received legal recognition in 1924. By the end of 1928, more than 450 amateur radio stations were on the air in the country. From the beginning of the 1930s domestic radio amateurs have also mastered the reception of television broadcasts on home-made televisions. By the end of the 1930s. there were a large number of home-made television receivers tuned to the transmission of optical-mechanical television in the country. In t

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5

Wayne, Michael L. "Netflix, Amazon, and branded television content in subscription video on-demand portals." Media, Culture & Society 40, no. 5 (2017): 725–41. http://dx.doi.org/10.1177/0163443717736118.

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Branding has been described as the defining industrial practice of television’s recent past. This article examines publicly available industry documents, trade press coverage, and executive interviews to understand the place of traditional television network branding in subscription video on-demand (SVOD) portals as represented by Amazon and Netflix. Focusing on materials relating to licensed rather than original content and this content’s role within the US domestic SVOD market, two distinct approaches emerge. For Amazon, the brand identities of some television networks act as valuable lures

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Cao, Luhao. "Research on the Way of "Self rescue" and "Other rescue" of Domestic Film and Television Bases under the COVID-19 Epidemic Situation." Frontiers in Business, Economics and Management 5, no. 3 (2022): 333–39. http://dx.doi.org/10.54097/fbem.v5i3.2048.

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In the process of Chinese film and television, Hengdian Film and Television City has created a group of magical data. Under the COVID-19 epidemic situation, the original vibrant film and television industry has entered the winter period, Hengdian Film and Television City is no exception. Under the COVID-19 epidemic situation, where should the domestic film and television bases go? How can the industry recover better? How to build a more perfect industrial chain? These are all urgent problems to be solved under the COVID-19 epidemic situation. This paper will conduct field research and intervie

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Roberts, Michael James. "Television at Work: Industrial Media and American Labor." Contemporary Sociology: A Journal of Reviews 51, no. 1 (2021): 51–53. http://dx.doi.org/10.1177/00943061211062960m.

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Lotz, Amanda D. "Unpopularity and cultural power in the age of Netflix: New questions for cultural studies’ approaches to television texts." European Journal of Cultural Studies 24, no. 4 (2021): 887–900. http://dx.doi.org/10.1177/1367549421994578.

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Although Internet-distributed television bears much in common with the television long studied and theorized using cultural studies-based approaches to analysis, several of its features profoundly deviate from earlier television norms and require reassessment and adaptation of theoretical frames. This article focuses on the issue of textual popularity in relation to these services and identifies key challenges to using the same frames of cultural power that have been used for studying television in the past. The underlying problem of audience fragmentation does not originate with streaming ser

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Doyle, Gillian, and Kenny Barr. "After the gold rush: industrial re-configuration in the UK television production sector and content." Media, Culture & Society 41, no. 7 (2019): 939–57. http://dx.doi.org/10.1177/0163443719857640.

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Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-b

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Liou, Dah-Kwei, Li-Chun Hsu, and Wen-Hai Chih. "Understanding broadband television users’ continuance intention to use." Industrial Management & Data Systems 115, no. 2 (2015): 210–34. http://dx.doi.org/10.1108/imds-07-2014-0223.

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Purpose – Based on the tricomponent attitude model, a research model is developed to investigate the factors that influence users’ use intentions regarding broadband television. These factors are divided into vendor’s service and personal psychology perspectives. The paper aims to discuss these issues. Design/methodology/approach – The research sample consisted of 631 respondents with experience in using broadband television. This study adopted structural equation modeling to test the proposed model. Findings – The results show that the structural model has a good fit and indicates that percei

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Benson, Nicholas. "Apes on TV: Medium specificity and considerations of continuity in early transmedia storytelling." Critical Studies in Television: The International Journal of Television Studies 14, no. 1 (2019): 22–39. http://dx.doi.org/10.1177/1749602018809790.

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In 1974, CBS premiered a television series based on the popular Planet of the Apes films. Despite high expectations from the network, the series was a critical and ratings flop and CBS quickly canceled it in the middle of its first season. This article considers the short-lived Planet of the Apes (1974) series as an early attempt at transmedia storytelling and asks what its failure might reveal about certain pre-conglomeration, pre-franchising industrial logics, particularly as they relate to properties that transition from film to television. The Apes television series offers an opportunity t

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Leyda, Julia. "Financial Times: Economic and Industrial Temporalities in Netflix’s Arrested Development." Television & New Media 19, no. 4 (2017): 345–60. http://dx.doi.org/10.1177/1527476417742973.

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Arrested Development occupies an important place in twenty-first-century American television culture, both because of its peculiar positioning as a “before” and “after” snapshot of the housing crisis, and because its experimental revival (Netflix’s first) occasioned a similar set of obstacles to those that plagued the original series. As a representation of and an instance of the financialization of domestic space, this series about the failures of a wealthy family itself courts failure as a complex and innovative television narrative.

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Bennett, James, and Niki Strange. "The BBC's Second-Shift Aesthetics: Interactive Television, Multi-Platform Projects and Public Service Content for a Digital Era." Media International Australia 126, no. 1 (2008): 106–19. http://dx.doi.org/10.1177/1329878x0812600112.

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This article maps out some of the implications of interactivity and convergence for television's textual and industrial forms in relation to the BBC's status as a public service broadcaster. Whilst the digitalisation of television may bring about new textual, industrial and audience configurations, the goals for broadcasters remain the same: to attract viewers in a marketplace where there is increasing competition for screen-based leisure time. John Caldwell's work on ‘second-shift aesthetics’ demonstrates how TV-dot.com synergies must now attempt to ‘master textual dispersals and user navigat

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O’Dette, Katarina. "Fantasy Worlds on the Small Screen." Extrapolation: Volume 62, Issue 1 62, no. 1 (2021): 37–62. http://dx.doi.org/10.3828/extr.2021.3.

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This article draws on worldbuilding theory, US television industrial practices, and textual analysis of a variety of fantasy series to explore the medium-specific forces that shape how fantasy worlds are built on television. With particular focus on Buffy the Vampire Slayer (1997-2003), Once Upon a Time (2011-2018), and Dead Like Me (2003-2004), this article proposes the concepts of stationary movement and adaptive creation to analyze how televisual worldbuilding is shaped by industrial practices such as standing sets and actors’ contracts. Scrutinizing the medium-specific manifestation of fan

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Bakøy, Eva, and Vilde Schanke Sundet. "‘Remember, it’s just television’." VIEW Journal of European Television History and Culture 6, no. 11 (2017): 53. http://dx.doi.org/10.18146/2213-0969.2017.jethc123.

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This article discusses the corporate strategy of one of the most successful television production companies in Norway: Rubicon TV. Based on a historical analysis from the company’s establishment in the early 1990s until today, the article illuminates how Rubicon TV has navigated in and contributed to the changing Norwegian television landscape. Rubicon TV has gone from a supplier of popular and provocative programmes to a small group of Norwegian broadcasters to a truly digital and global industrial force which produces linear ‘flow’ programmes as well as web-TV and streaming series for both n

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16

Hutt, Clive. "The reporting of industrial relations on breakfast-time television." Industrial Relations Journal 18, no. 2 (1987): 90–99. http://dx.doi.org/10.1111/j.1468-2338.1987.tb00891.x.

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Tulloch, Marian, and John Tulloch. "Television, Industrial Relations & Audiences: Representing & Reading Strikes." Media Information Australia 70, no. 1 (1993): 34–42. http://dx.doi.org/10.1177/1329878x9307000106.

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Steward, Tom James Longley. "Wide-Screen Television and Home Movies." Convergent Television(s) 3, no. 6 (2014): 58. http://dx.doi.org/10.18146/2213-0969.2014.jethc070.

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In this article, Tom Steward uses past interrelations of television and cinema spectatorship, exhibition, production and aesthetics to historicize phenomenological digital-era discourses on, ontological definitions of, and cultural arguments about television and cinema convergence. He argues that television and cinema assisted in defining each other as late 20th Century media and cultural forms, have a multi-directional industrial and artistic flow, and are often interdependent in reception and distribution. Television and cinema convergence demonstrates the need for historical breadth in medi

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Imre, Anikó. "The Imperial Legacies of Television within Europe." Television & New Media 18, no. 1 (2016): 3–18. http://dx.doi.org/10.1177/1527476416648779.

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The article argues for creating a mutually beneficial connection between postcolonial and television studies in order to understand how imperial legacies have shaped contemporary television regions. What it contributes to this work, more specifically, is the beginnings of a postcolonial account of intra-European broadcast regions. As both the original center of colonialism and the site of recent global economic, social and cultural crises, Europe is a major reference point in such attempts to re-historicize “empire” in order to understand industrial and ideological configurations within presen

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Lotz, Amanda D. "Teasing apart television industry disruption: consequences of meso-level financing practices before and after the US multiplatform era." Media, Culture & Society 41, no. 7 (2019): 923–38. http://dx.doi.org/10.1177/0163443719863354.

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The emergence of Internet-distributed television services such as Netflix has led viewers and legacy television companies to rethink the norms of television. Internet distribution is often presumed as the source of Netflix’s market differentiation, but the contemporary competitive field has simultaneously been adjusted by shifts in revenue model and ownership regulations. This article examines the multiple shifts in the US television industry to illustrate how adjustments in the underlying financing practices of series production and revenue sources also structure the multiplatform environment

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Varona Aramburu, David. "El Botón Rojo de RTVE: una experiencia de implantación de HbbTV en España." Doxa Comunicación. Revista interdisciplinar de estudios de comunicación y ciencias sociales, no. 19 (November 15, 2014): 155–76. http://dx.doi.org/10.31921/doxacom.n19a7.

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El ecosistema televisivo se ha visto alterado con la aparición de las televisiones conectadas, aparatos capaces de conectarse a Internet a través de diferentes sistemas. Uno de ellos es el HbbTV, Hybrid Broadcast Broadband Television. Impulsado sobre todo por la UE y la industria, supone un cambio importante en la forma de consumir televisión y abre la red a públicos nuevos. Esta investigación estudia la implantación de HbbTV llevada a cabo en RTVE. El trabajo propone la descripción del servicio denominado Botón Rojo de RTVE y el análisis de la respuesta de la audiencia en sus primeros meses d

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22

Berland, Jody. "Radio space and industrial time: music formats, local narratives and technological mediation." Popular Music 9, no. 2 (1990): 179–92. http://dx.doi.org/10.1017/s0261143000003895.

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Radio is commonly referred to as a ‘secondary medium’ in the broadcasting industry. The phrase conveys the industry's pragmatic view that no one cares whether you listen to radio so long as you do not turn it off. Since it has been displaced by television, radio is expected to accommodate itself technologically and discursively to every situation. Are you brushing your teeth, turning the corner, buying or selling jeans or entering inventory into the computer? So much the better. Your broadcaster respects the fact that these important activities must come first. Radio is humble and friendly, it

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Lotz, Amanda D. "Linking industrial and creative change in 21st-century US television." Media International Australia 164, no. 1 (2017): 10–20. http://dx.doi.org/10.1177/1329878x17707066.

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Hughes, Kit. "Disposable." Critical Studies in Television: The International Journal of Television Studies 12, no. 2 (2017): 102–20. http://dx.doi.org/10.1177/1749602017698476.

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When television was introduced to the American public at the New York World’s Fair, its prerecorded content was dominated by sponsored film. These programs, designed to achieve goals ranging from securing participation in public health campaigns to cultivating viewer goodwill, were produced by diverse civic, governmental, educational, and industrial institutions. For many fairgoers being introduced to television, the marvel of the new medium would have been interlaced not with Hollywood and entertainment programming, but with the tropes of industrial and civic progress, corporate goodwill, and

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Sexton, Max. "The Tripods: Distinction, Science Fiction and the BBC." Journal of British Cinema and Television 13, no. 3 (2016): 469–83. http://dx.doi.org/10.3366/jbctv.2016.0330.

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This article focuses on how mode and genre shaped the formal and narrative possibilities in The Tripods (BBC, 1984–5). It explores how the first and second series are substantially different from each other and offers an approach that attempts to explain the complex ways in which generic boundaries are made to operate within television. Such an approach can offer insight into how modifications in mode were a desire to replace an existing but ailing show, Doctor Who (BBC, 1963–) with one that would be successful because it fitted the existing industrial model of televisual flow. However, The Tr

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Damodaran, Suma, and Uday Damodaran. "The Indian television broadcasting industry 2012." Emerald Emerging Markets Case Studies 2, no. 8 (2012): 1–13. http://dx.doi.org/10.1108/20450621211304270.

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Subject area Business strategy and industrial economics. Study level/applicability This case may be used early on in a basic course on strategy in an MBA program or in a course in industrial economics. It can also be used in a session of an executive development program on strategy. Case overview The TV Broadcasting industry, worldwide, has been moulded by frequent changes in technology and by regulatory interventions. So has been the case of India. The case begins with a general introduction to the technology of TV broadcasting and distribution and then moves on to a discussion of the technol

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Hill, Annette. "Push–Pull Dynamics." Television & New Media 17, no. 8 (2016): 754–68. http://dx.doi.org/10.1177/1527476416658131.

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This article explores push–pull dynamics in television drama production and reception. Push–pull dynamics are understood as complicated power relations in the transactions between television industries and audiences. The research is underpinned by qualitative data, drawing on more than 170 participants in interviews, focus groups, and participant observations, with producers and audiences from Northern Europe and North and South America. A case study of The Bridge (FX, 2013–2014) crime drama and its adaptations is used to think through the idea of push–pull dynamics. A key question concerns ho

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Sabardila, Atiqa, Markhamah Markhamah, Zainal Arifin, et al. "Mapping Television Shows that are of Favored by Elementary School Students." Jurnal Ilmiah Sekolah Dasar 5, no. 4 (2021): 588. http://dx.doi.org/10.23887/jisd.v5i4.36693.

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The various television shows can now be easily accessed by children for 24 hours without the need for parental controls. Television shows that are presented are of various types, ranging from educational shows, cartoons to soap operas. This article aims to map out television shows that are of favored by elementary school students. The approach of this research is qualitative descriptive. The subjects of this study were elementary school students from grade I to grade VI. The data of this study were collected by using interview and observation methods. The data analysis of this study used an in

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Grainge, Paul, and Catherine Johnson. "“Show us your moves”: trade rituals of television marketing." Arts and the Market 5, no. 2 (2015): 126–38. http://dx.doi.org/10.1108/aam-06-2014-0022.

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Purpose – The purpose of this paper is to examine the professional culture of television marketing in the UK, the sector of arts marketing responsible for the vast majority of programme trailers and channel promos seen on British television screens. Design/methodology/approach – In research approach, it draws on participant observation at Promax UK, the main trade conference and award ceremony of the television marketing community. Developing John Caldwell’s analysis of the cultural practices of worker groups, it uses Promax as a site of study itself, exploring how a key trade gathering forges

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Walsh, Abigail. "An Index of Gender-Typed Portrayals in Preschool Television." Advances in Social Sciences Research Journal 8, no. 4 (2021): 438–53. http://dx.doi.org/10.14738/assrj.84.10047.

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Little research has examined the gender representations in preschool television shows. Preschool-aged children use information in the world around them, including the television they watch, to inform gender-appropriate behaviors. This study analyzed gender-stereotyping in individual preschool television shows, by utilizing a cluster analysis to assess how characters were being portrayed in each show. From this analysis an index of gender-stereotyped representations in preschool television was created with shows ranging from stereotypical to counter-stereotypical. Results showed nuance in the t

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Shapiro, Stephen. "Algorithmic Television in the Age of Large-scale Customization." Television & New Media 21, no. 6 (2020): 658–63. http://dx.doi.org/10.1177/1527476420919691.

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One challenge that Television Studies faces today is how to respond to the rise of an industry increasingly organized by what Antoinette Rouvroy calls “data behavioralism.” The rise of streaming prestige television, exemplified by Netflix, has significant implications within the U.S. screen industry, but the “Netflix effect,” as McDonald and Smith-Rowsey call it, is more than just a change in the industrial mode of production, means of distribution, and method of consumption. The datalogic turn on which Netflixism is based also undermines the theoretical models on which Television Studies was

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Keane, Michael. "Television Drama in China: Remaking the Market." Media International Australia 115, no. 1 (2005): 82–93. http://dx.doi.org/10.1177/1329878x0511500109.

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This paper discusses the evolution of television serial drama in China. It argues that Chinese television drama production has progressed through three periods: industrial (1958–89), market (1990–2002), and most recently interpersonal (2003 onwards). These three stages of development are in turn associated with standardised production according to state-directed formulae, outbreaks of producer autonomy, and celebration of modern lifestyles and consumer culture. The paper provides an overview of the development of drama production during these three periods, and notes a shift from ‘socialist re

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Vesey, Alyxandra. "Opening Statements: Theme Singing and Shifting Paradigms for Voicing Feminine Subjectivities as Television Music." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 3 (2019): 157–67. http://dx.doi.org/10.1215/02705346-7772431.

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This article argues that more scholarly attention should be paid to women’s contributions to the practice of “theme singing,” or the textual and industrial practices of using vocalists as sonic proxies for television characters by articulating programs’ thematic concerns and embodying their tonal dimension in television shows’ credit sequences and soundtracks. Though vulnerable to muting and time shifting, female recording artists—and black women in particular—have always been a fixture of US television production by helping build televisual worlds as theme singers. These professionals help cu

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Bruns, Axel. "Reconfiguring Television for a Networked, Produsage Context." Media International Australia 126, no. 1 (2008): 82–94. http://dx.doi.org/10.1177/1329878x0812600110.

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The rise of user-led content creation and distribution, or produsage, is by now well recognised. User-produced content is providing a well-needed corrective to industrial journalism; user-produced creative work has become a regular component of the standard media diet for many users; and user-led distribution of content through file-sharing networks is now an important means of accessing content, and is cautiously being explored as a means of distribution by mainstream media producers. Such phenomena are beginning to affect the television industry. On the one hand, the user-led distribution of

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Shen, Zhe. "Operation Mode and Creation of Film Media Based on the Internet Logic under the Field Theory." Mobile Information Systems 2022 (October 6, 2022): 1–11. http://dx.doi.org/10.1155/2022/6484483.

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With the development of information technology and new media technology, the Internet has had a profound impact on the development of the film and television industry. Mainstream media, new media, Internet companies, cultural media companies, etc. are all eager to try, and the forces from the state, capital, media, and users are intertwined. The film and television field is the behavioral practice field of various stakeholders. Capital stimulates the industrial functions of the film and television industry from the perspective of commercial interests. The interests of users are being redefined

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Arca-Castro, Manuel. "Perspectiva histórica da tradución para a dobraxe ao catalán, éuscaro e galego." Viceversa. Revista galega de tradución, no. 21 (April 13, 2021): 9–29. http://dx.doi.org/10.35869/viceversa.v0i21.3455.

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No presente traballo analizamos a evolución das industrias da tradución para a dobraxe ás linguas catalá, éuscara e galega, centrándonos no papel que desenvolveron as televisións autonómicas públicas de cada espazo, nomeadamente Televisió de Catalunya (TV3) coa lingua catalá, Euskal Telebista (ETB) coa lingua vasca e a Televisión de Galicia (TVG) coa lingua galega. Así mesmo, ofrecemos tamén unha comparativa sobre a situación da dobraxe nestas tres televisións (con datos dos anos 2015 e 2016) mediante unha análise cuantitativa e cualitativa das producións obxecto de tradución audiovisual para

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Tsekleves, Emmanuel, John Cosmas, Amar Aggoun, and Jonathan Loo. "Converged Digital TV Services: The Role of Middleware and Future Directions of Interactive Television." International Journal of Digital Multimedia Broadcasting 2009 (2009): 1–19. http://dx.doi.org/10.1155/2009/643680.

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The subject of the future of the interactive Television medium has become a topic of great interest to the academic and industrial communities particularly since in the recent years there has been a dramatic increase in the pace of innovation of convergence of digital TV systems and services. The purpose of this paper is to provide a brief overview of what we know as digital TV converged services, to present and categorise the digital Television middleware technologies that contributed to it, and to present possible future trends and directions. A new Television era of converged wireless and m

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McKinlay, Alan, and Brian Quinn. "Remaking Management, Work and Industrial Relations: British Commercial Television, c. 1979-2000." Historical Studies in Industrial Relations, no. 23-24 (April 2007): 155–80. http://dx.doi.org/10.3828/hsir.2007.23-24.7.

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KUYUCU, Mihalis. "Television And Advertising: The History Of Tv Advertising From And Industrial Look." SOCIAL MENTALITY AND RESEARCHER THINKERS JOURNAL 6, no. 29 (2020): 258–69. http://dx.doi.org/10.31576/smryj.450.

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Peterson, John. "Towards a Common European Industrial Policy? The Case of High Definition Television." Government and Opposition 28, no. 4 (1993): 496–511. http://dx.doi.org/10.1111/j.1477-7053.1993.tb01384.x.

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THE STAKES IN THE COMPETITION TO DEVELOP HIGH Definition Television (HDTV) are high. In the face of intense competition from Japan, the European effort has had the earmarks of a mission-oriented, Japanese-style industrial policy. But political support for a politically-derived European HDTV standard is matched by market demand. This case study reveals that the nature of government-industry relations in the EC has changed very little when large, politically powerful firms are involved, despite the increasingly prominent policy role of the European Community and the creation of the internal mark

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Shengmin, Huang, Zhou Yan, and Wang Wei. "Cable Digital Television in China: Industrial Policy, Market Performance and Development Trends." Journal of Comparative Asian Development 6, no. 2 (2007): 287–310. http://dx.doi.org/10.1080/15339114.2007.9678445.

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Andrews, Kylie. "National History or Post-Industrial Commodity?: Negotiating Australian History Through Television Documentary." History Australia 8, no. 1 (2011): 196–214. http://dx.doi.org/10.1080/14490854.2011.11668363.

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Ward, Susan. "Review: Production Culture: Industrial Reflexivity and Critical Practice in Film and Television." Media International Australia 130, no. 1 (2009): 131–32. http://dx.doi.org/10.1177/1329878x0913000118.

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Young, Andrew Phillip. "Peter Gunn and social fissure on US network television." Critical Studies in Television: The International Journal of Television Studies 12, no. 3 (2017): 289–304. http://dx.doi.org/10.1177/1749602017719402.

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Producer Blake Edwards’ Peter Gunn (1958–1961) appeared on US network television at a time when Beat poetry and bebop jazz were just making their mark on American culture. While Peter Gunn didn’t represent a drastic shift in the reactionary values of US television, the series reconfigured radicalism and counterculture in ways that are reflective of deeper cultural contradictions. In order to explore these issues, this article seeks to explore the industrial and production history of Peter Gunn in relation to its use of bebop jazz, Beat poetry and its representation of law and order.

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Mogilevich, Mariana. "Charlie's Pussycats." Film Quarterly 55, no. 3 (2002): 38–44. http://dx.doi.org/10.1525/fq.2002.55.3.38.

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The recent films Charlie's Angels and Josie and the Pussycats, filmic remakes of 1970s television series, and furthermore of each other, may be indicative of a new direction for film, which is precisely the direction of television. These new films serve as indexes of each other and of the popular culture from which they have been compiled. As remakes become more common and films rely ever more on our familiarity with other forms of mass media, the vast cultural-industrial complex Theodor Adorno denounced a half-century ago seems to be at its most effective.

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Ganguly, Lauhona. "Global Television Formats and Their Impact on Production Cultures: The Remaking of Music Entertainment Television in India." Television & New Media 20, no. 1 (2018): 20–35. http://dx.doi.org/10.1177/1527476418759215.

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This article focuses on the impact of global television formats on local (nonformat) homegrown shows and examines how formats reshape industrial–cultural conventions for local productions. Empirically, the article looks at how (Indian) Idol rewrites cultural values, assumptions, and norms for nonfictional entertainment, particularly music talent shows in India. Using a production studies approach, analysis zooms in on production negotiations—the strategies and goals of the Idol format, specific calculations targeting Indian market, and how rival, homegrown shows review and revise (or reject) a

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Bollapragada, Srinivas, and Suman Mallik. "Managing on-air ad inventory in broadcast television." IIE Transactions 40, no. 12 (2008): 1107–23. http://dx.doi.org/10.1080/07408170802323026.

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Harmes, Marcus. "Education in the apocalypse: disaster and teaching on British television." History of Education Review 49, no. 2 (2020): 165–79. http://dx.doi.org/10.1108/her-08-2019-0033.

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PurposeThe purpose of the study is to examine educational history through television's portrayal of educational activity in post-apocalyptic society. The paper examines how and why television drama set after a catastrophe is in dialogue with, but rejects, both contemporary government discourse of “protect and survive”.Design/methodology/approachThe paper treats television programmes as historical artefacts made during periods of heightened anxiety about nuclear and bacteriological war. This paper follows established methods for interpreting educational history by examining the representation o

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Kolomiets, Viktor P. "Mediatization of the Media as Industrial Transformation." RUDN Journal of Studies in Literature and Journalism 26, no. 4 (2021): 623–30. http://dx.doi.org/10.22363/2312-9220-2021-26-4-623-630.

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The article implements the idea of mediatization as a process of transformation of the mass communication industry. Nowadays, the current system of mass communication is under the pressure of digital transit, which is transgressive in nature and breaks traditional business patterns, requires business administration to make mental changes in thinking and management practices, and creates the highest level of tension among media managers. The article attempts to conceptualize (through the analysis of industrial points of tension: between television and online video - players of the cross-media d

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van Keulen, Jolien, Tonny Krijnen, and Joke Bauwens. "The logic of formatting: A case study on transnational television production." Journal of Popular Television 9, no. 3 (2021): 391–408. http://dx.doi.org/10.1386/jptv_00064_1.

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The transnationalization of television production has been examined by studies on formats and multinational media companies, which have often highlighted the resilience of the local in the global. This article investigates transnationalization on the micro level of television production, drawing on participant observations in a Dutch production company that is partly owned by an American conglomerate. It explores the deep entanglement of the local with the global in different facets of production ‐ including legal, organizational and market aspects ‐ as manifested in daily practices and decisi

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