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Relevant bibliographies by topics / Jewish television producers and directors

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Journal articles

Academic literature on the topic 'Jewish television producers and directors'

Author: Grafiati

Published: 28 February 2023

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Journal articles on the topic "Jewish television producers and directors"

1

Adams, Terry. "Producers, Directors, and Horizontal Communication in Television News Production." Journal of Broadcasting & Electronic Media 51, no. 2 (2007): 337–54. http://dx.doi.org/10.1080/08838150701305032.

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2

Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.

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First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. T

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3

Eschenfelder, Christine C. "But Can They Write? Television News Industry Assessment of the Skills of Broadcast Journalism Students and Recent Graduates." Journalism & Mass Communication Educator 75, no. 2 (2019): 226–32. http://dx.doi.org/10.1177/1077695819884172.

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Broadcast journalism writing and reporting classes are designed to help students develop writing skills for multiple platforms, but many television news professionals think student writing and other necessary skills for the industry need improvement. Television news anchors, reporters, producers, and news directors who completed an online survey found many students need improvement in areas including writing skills, finding story ideas, storytelling, and writing to deadline. Survey participants also identified the need for robust internships and instructors with relevant skills and training. T

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4

Shandler, Jeffrey. ""This Is Your Life": Telling a Holocaust Survivor's Life Story on Early American Television." Narrativization of the News 4, no. 1-2 (1994): 41–68. http://dx.doi.org/10.1075/jnlh.4.1-2.04thi.

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Abstract The appearance of Hanna Bloch Kohner on a 1953 episode of the series This Is Your Life is among the earliest presentations of a Holocaust survivor's personal history on American television. Analysis of the program explores how television—a collaborative, corporate medium—shapes the telling of an individual's life story, and how the program relates the story of the Holocaust in terms of personal history. The article also examines how the program's producers employed television's distinctive characteristics to enable, limit, or otherwise shape the presentation of the Holocaust, and how

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5

Smart, Billy. "The Life of Galileo and Brechtian Television Drama." Journal of British Cinema and Television 10, no. 1 (2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.

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Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian t

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6

Morney, Elisabeth, and Hanna Vilkka. "Lajityypit ylittävä laatu televisio-ohjelmissa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 4 (2021): 40–56. http://dx.doi.org/10.23994/lk.112963.

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Artikkelin tavoitteena on kuvata televisioalan tekijöiden näkemyksiä laatukriteereistä sekä sitä, millaisia lajityypit ylittäviä laatukriteereitä löytyy audiovisuaalisella alalla. Aineisto on koottu Yhdysvalloissa ja Suomessa haastattelemalla alan ammattilaisia, jotka toimivat tuottajina, ohjaajina, kouluttajina tai johtavissa asemissa palkintojärjestöissä.Analyysi on toteutettu fenomenografisesti. Laatukeskustelun ja televisio-ohjelmien keskinäisen vertailun tuloksena nousi esiin kolme lajityypit ylittävää laatukriteeriryhmää. Nämä ryhmät ovat 1) ammattitaito, 2) vaikutus ja 3) suosio.Avainsa

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7

Sexton, Max, and Dominic Lees. "Fargo: Seeing the significance of style in television poetics?" Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (2019): 343–61. http://dx.doi.org/10.1177/1749602019853792.

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This article explores the adaptation of the original film to television and how a strain of art or independent cinema contributed to the development of the first series of Fargo (2014–present). By making this comparison, the transition to television of the storyworld established by the Coen brothers raises questions about who is talking in the TV drama – the Coens or makers of the series. At the same time, Fargo can be more easily explained and understood as a strategy by writers, directors and producers that further complicate ideas to do with Noah Hawley, as its showrunner and the show’s sin

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8

Mehta, Smith. "Television’s role in Indian new screen ecology." Media, Culture & Society 42, no. 7-8 (2020): 1226–42. http://dx.doi.org/10.1177/0163443719899804.

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In this article, I discuss the various issues that have prompted select creators such as writers, directors, actors, producers and casting agents to focus their creative energies on Internet-based content. The article’s main findings illustrate that because a growing segment of Indian content, new media practitioners are disillusioned by the programming and industrial practices of television, they increasingly embrace digital delivery platforms as the preferred outlets for their creative expressions. By drawing from critical media industry studies framework, the aim of this research is to exam

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9

Khorana, Sukhmani. "Diverse Australians on television: from nostalgic whiteness to aspirational multiculturalism." Media International Australia 174, no. 1 (2019): 29–38. http://dx.doi.org/10.1177/1329878x19863849.

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This article delivers preliminary findings from a series of interviews with Australian migrant producers, directors and writers. With the increasing calls for diversity in the media generally, and on television screens specifically from a wide range of stakeholders (institutions like Screen Australia, advocacy groups and high-profile media personnel of colour), there is ample empirical evidence that our public and commercial broadcasters have a long way to go in terms of ‘reflecting’ contemporary Australia. There is also more emphasis on institutionalised strategies, and looking towards overse

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10

Wiedemann, Thomas. "Struggling for legitimate meaning: Agent–structure dynamics in German filmmaking." International Journal of Media & Cultural Politics 16, no. 3 (2020): 291–308. http://dx.doi.org/10.1386/macp_00030_1.

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Given the state sponsorship of film production in Germany, this article examines general mechanisms in the formation of meaning in German filmmaking. With reference to Schimank’s framework of agent–structure dynamics and based on a constructivist understanding of the world, the results of 97 expert interviews with screenwriters, directors, producers, distributors, cinema theatre operators, funding representatives and public television editors, as well as document analyses, show that the medium’s construction of reality is anything but unconditioned. On the contrary, due to the fundamental role

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