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

Author: Grafiati
Published: 28 February 2023

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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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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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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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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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Raats, Tim. "The Resilience of Small Television Markets to COVID-19: the Case of Lockdown." Baltic Screen Media Review 8, no. 1 (2020): 82–89. http://dx.doi.org/10.2478/bsmr-2020-0008.

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Abstract This article presents a case study of Lockdown, an anthology series developed by two production companies under strict COVID restrictions in Flanders, centred on a prison visiting space. Every episode is written and directed by different screenwriters and directors. The case study clearly shows how a combination of creativity of Flemish independent producers, a felt need to counter the damaging effects of COVID on Flemish audio-visual industries, and the need to produce under strict hygienic and social distancing rules, resulted in a unique creative concept, that, ironically, might no
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Rautkorpi, Tiina. "Television professionals’ reflections on their practices while cooperating with amateur participants: A case study of three topical Finnish multiplatform shows." Journal of Popular Television 8, no. 2 (2020): 195–215. http://dx.doi.org/10.1386/jptv_00018_1.

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This article investigates the professional identities of key members of the television production teams that cooperate with volunteer citizens. The data is derived from production ethnographies conducted during three Finnish reality and documentary productions over the 2015‐18 period, which included reflective interviews with scriptwriter-directors, operating producers and a key cinematographer. In the productions utilizing volunteers as storytellers, the professionals focused on building multivocal television narration, which offered amateur presenters valuable opportunities to address the au
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An, Chairin. "THE CONTENT AND ROLE OF INTRINSIC MOTIVATION IN CREATIVE WORK: THE IMPORTANCE OF SEEKING “ENJOYMENT”." Creativity Studies 12, no. 2 (2019): 280–90. http://dx.doi.org/10.3846/cs.2019.6451.

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The present paper assesses the “content” and “role” of intrinsic motivation during the creative production process. Based on semi-structured interviews with 16 light-entertainment television producers-directors in South Korea, it was observed that intrinsic motivation towards creative work included a desire to maintain enjoyment from such activities. Enjoyment was classified into two types: enjoyment based on job expectations and enjoyment based on the actualization of individual creative ambitions. Additionally, intrinsic motivation tended to provide a strong buffer against unfavourable worki
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Radkiewicz, Małgorzata. "Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (2021): 61–83. http://dx.doi.org/10.1215/02705346-9349357.

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Abstract This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In recon
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15

Monk-Payton, Brandy. "Blackness and Televisual Reparations." Film Quarterly 71, no. 2 (2017): 12–18. http://dx.doi.org/10.1525/fq.2017.71.2.12.

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The television screen has increasingly come to serve as a complex threshold for images of blackness across genres. What could be termed “televisual reparations,” therefore, emphasizes the medium's attempts to address the paradox of black “unfreedom” and provide redress for continuing race-related grievances, especially those connected to histories of violence. Such televisual acts of reparation occur at the levels of television industry, text, and audience. The industry maintains a tenuous commitment to provide opportunities for African American producers, writers, directors, and actors to the
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16

Pett, Emma, and Helen Warner. "The Invisible Institution? Reconstructing the History of BAFTA and the 1958 Merger of the British Film Academy with the Guild of Television Producers and Directors." Journal of British Cinema and Television 17, no. 4 (2020): 449–72. http://dx.doi.org/10.3366/jbctv.2020.0542.

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As a cultural institution of national and global significance, the British Academy of Film and Television Arts (BAFTA) is notably absent from existing scholarship on the media industries. More importantly, BAFTA's role as an independent arts charity set up by the industry to support and develop new talent is often overlooked. Instead, references to BAFTA made by media and film scholars most frequently take the form of footnotes or digressions that detail particular awards or nominations. Drawing on a range of archival sources, including BAFTA's own records, we address this significant omission
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17

Wong, Yat-wai Joseph. "Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85." Journal of Popular Television 9, no. 1 (2021): 79–91. http://dx.doi.org/10.1386/jptv_00042_1.

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The term Cantopop is used by scholars to describe Cantonese popular songs developed in Hong Kong during the early 1970s. The rise and development of the genre was not cultivated by music programmes or variety shows but by Cantonese TV drama culture and the competition between different channels in the 1970s. Footage of early 1970s shows indicates that cover versions of English popular songs were initially more prominent than Cantopop in these programmes. Producers and music directors introduced the genre to television by tailor-making Cantonese theme songs based on the characters and stories o
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18

Kramoliš, Jan, and Martina Kopečková. "Characteristics of an Insert Product Placement as a Part of Marketing Communication." Acta Universitatis Agriculturae et Silviculturae Mendelianae Brunensis 62, no. 4 (2014): 659–66. http://dx.doi.org/10.11118/actaun201462040659.

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The paper defined saturation of an insert product placement as a part of marketing communication. Product placement is known as a modern tool of marketing communication and so that product placement and its types and forms are not so casual used in the Czech Republic as in other parts of the world. The mentioned issues are explained from the perspectives of three groups: TV studios experts, directors and producers and other experts (media agencies and advertisers). Types and forms of this marketing communication tool as well as options of its utilization are also mentioned in the paper.The Cze
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19

Blakey, Elizabeth. "Showrunner as Auteur: Bridging the Culture/ Economy Binary in Digital Hollywood." Open Cultural Studies 1, no. 1 (2017): 321–32. http://dx.doi.org/10.1515/culture-2017-0029.

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Abstract This article engages the metaphor of showrunner as auteur to examine freedom of expression in television. News articles offer the metaphor of showrunner as auteur, with Hollywood journalists discussing the writer-producers of the new Golden Age of Television. Media convergence, including cable and digital technologies, has disrupted traditional TV organisations and power brokers, bringing about a renaissance. Jenkins (2006) challenges scholars to see media convergence in terms of voice and participation, rather than technology. Following Jenkins, this study engages auteur theory, and
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20

Gregory, Sheree, and Cathy Brigden. "Gendered scenes: conceptualising the negotiation of paid work and child care among performers in film, television and theatre production." Media International Australia 163, no. 1 (2017): 151–62. http://dx.doi.org/10.1177/1329878x16689146.

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The pervasiveness of gender inequality in the media and entertainment industry has become an issue of growing public interest, debate and agitation. Whether it is the gender pay gap, the ongoing presence of the casting couch, the absence of women film directors, the experiences for women and men are strikingly different. Drawing on the findings of a case study of how performers manage care and precarious paid work in film, television and theatre production in Australia, this article provides a context in which work and care regimes can be analysed. Individualised negotiations with agents and p
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21

Have, Iben. "The musicalized soundtracks of Armadillo. Emotional realism and real emotions." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (2012): 155–70. http://dx.doi.org/10.7146/se.v2i1.5196.

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“To you it’s film, to them it’s reality” is the translated poster headline of the Danish war documentary Armadillo (Janus Metz, May 2010), a much-debated Cannes award-winning film that follows Danish soldiers stationed in Afghanistan. The article uses this headline as a framework for analyzing, comparing and discussing the film’s “musicalized” soundtracks on various media platforms (cinema, YouTube, television, DVD), and it argues that these soundtracks contribute to the viewer’s experience of emotional realism, as well as to an experience of the emotional reality – the soldiers’ or the viewer
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22

Kamp, Werner. "Konzepte singulärer und pluraler Autorschaft in Filmkritik und Filmproduktion." Journal of Literary Theory 16, no. 1 (2022): 127–49. http://dx.doi.org/10.1515/jlt-2022-2019.

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Abstract Debates about authorship in cinema have held a privileged position in film studies since the 1950s, when the young generation of critics of the film journal Cahiers du Cinema formulated the politique des auteurs. This critical strategy proposed that the director of a film was the major creative source of the finished work. Since this assumption contradicts the industrial and collaborative character of the film medium, the politique has been questioned, attacked and reformulated ever since its beginnings. The auteur theory was appropriated and deconstructed under the influence of struc
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23

Pajala, Mari. "Laulukilpailusta show-kilpailuksi?" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (2021): 9–32. http://dx.doi.org/10.23994/lk.107814.

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Eurovision laulukilpailua koskevaa tutkimusta on ilmestynyt melko runsaasti 2000-luvulla, mutta televisioestetiikkaan ja -tuotantoon liittyviä kysymyksiä on tutkimuksessa tarkasteltu vain vähän. Tässä artikkelissa tartun usein esitettyyn ajatukseen, että Eurovision laulukilpailussa korostuvat nykyisin entistä enemmän visuaalisuus ja spektaakkeli. Kysyn, miten euroviisukappaleiden audiovisuaalinen näytteillepano on kehittynyt ohjelman historian aikana ja millaiseksi tuotannon luonne on kehittynyt 2000-luvulla.Artikkelin pääasiallinen tutkimusaineisto koostuu ensinnäkin vuosien 1960, 1970, 1980,
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Anteby, Michel, and Audrey L. Holm. "Translating Expertise across Work Contexts: U.S. Puppeteers Move from Stage to Screen." American Sociological Review 86, no. 2 (2021): 310–40. http://dx.doi.org/10.1177/0003122420987199.

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Expertise is a key currency in today’s knowledge economy. Yet as experts increasingly move across work contexts, how expertise translates across contexts is less well understood. Here, we examine how a shift in context—which reorders the relative attention experts pay to distinct types of audiences—redefines what it means to be an expert. Our study’s setting is an established expertise in the creative industry: puppet manipulation. Through an examination of U.S. puppeteers’ move from stage to screen (i.e., film and television), we show that, although the two settings call on mostly similar tec
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Uzuegbunam, Chikezie, and Chinedu Richard Ononiwu. "Highlighting Racial Demonization in 3D Animated Films and Its Implications: A Semiotic Analysis of Frankenweenie." Romanian Journal of Communication and Public Relations 20, no. 2 (2018): 5. http://dx.doi.org/10.21018/rjcpr.2018.2.256.

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This article focuses on a semiotic analysis of Frankenweenie, one of Disney Picture’s 3D animated films. Anchored within the psychoanalytic film theory, the aim was to highlight how animated films, as colorful and comic as they are, can demonize a certain group of people. Studying how animated films can do this can lead to an important understanding because children’s exposure to modelled behavior on television and in movies has the potential to influence a wide range of attitudes and behaviors, cause victimization, alter their perceptions of reality, reinforce stereotypes and make them acquir
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White, Brian. "Anxious Apocalypse: Transmedia Science Fiction in Japan’s 1960s." Humanities 12, no. 1 (2023): 15. http://dx.doi.org/10.3390/h12010015.

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Science fiction (SF) developed as a self-identified genre in Japan in the 1950s and quickly underwent a boom in the 1960s. Throughout this period, SF literature, film, and television were tightly intertwined industries, sharing production personnel, textual tropes, and audiences. As these industries entered global circulation with the hope of finding recognition and success in the international SF community, however, they encountered the contradictions of the Cold War liberal cultural system under the US nuclear umbrella. Awareness of the discursive marginalization of Japanese SF in the Euro-A
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Ingham, Mike, and Kenny K. K. Ng. "Introduction: Hong Kong independent documentaries and their visibility." Asian Cinema 33, no. 2 (2022): 117–30. http://dx.doi.org/10.1386/ac_00050_2.

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In their general introduction to the present Special Issue the authors trace the origins of and motivation behind much of the independent documentary filmmaking produced in the city during a period of great sociopolitical turbulence, leading up to the tight censorship protocols put in place after the mainland government’s promulgation of the repressive National Security Law in 2020. With reference to the individual essays that comprise this volume, they chart the sudden and unprecedented rise of documentary filmmaking in Hong Kong following many decades of public indifference to the genre. Lim
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Caldwell, Niall, and Kathryn Nicholson. "Star quality: celebrity casting in London West End theatres." Arts Marketing: An International Journal 4, no. 1/2 (2014): 136–55. http://dx.doi.org/10.1108/am-10-2013-0022.

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Purpose – The purpose of this paper is to investigate the practice of casting celebrity performers in London West End theatres. The paper uses the literature on celebrity to explore the impact that casting a celebrity has on the London theatre audience. Design/methodology/approach – The pervasiveness of celebrity culture forms the background and starting point for this research. In the first phase, theatre managers, directors and producers were interviewed to explore their views on the practice of celebrity casting. In the second phase, an audience survey was conducted. The approach taken is e
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Chu, Yiu-Wai. "Hong Kong (in China) studies: Hong Kong popular culture as example." Global Media and China 5, no. 2 (2020): 109–23. http://dx.doi.org/10.1177/2059436420917564.

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“China has become a predicament as well as a condition for Hong Kong culture” in the age of China, especially after the signing of the Closer Economic Partnership Agreement in 2003. This has become even more acute for Hong Kong culture in the integration of the Greater Bay Area, which can be seen as incorporating Hong Kong and Macao’s development into the overall development of the country. At this particular juncture, the issue of integration with the Mainland has become a topic that is of utmost importance for any consideration of the future of Hong Kong culture and the city as a whole. In t
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Alkadi, Ihssan, Ghassan Alkadi, and Mike Totaro. "Effects of Information Technology on the Business World." Human Systems Management 22, no. 3 (2003): 99–103. http://dx.doi.org/10.3233/hsm-2003-22301.

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This paper will address the effects of Information Technology on the business world. Technology is increasingly playing a crucial role in the success of organizations in the information age. The impact of Information Technology on business has been enormous. Computers and the information they process and store have permeated every aspect of the business world. The fundamental role of Information Technology is to enable businesses to find new ways to drive down the costs of products, processes, and improve performance. We use examples from five different companies/industries to show the differe
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Leavitt, Linda. "Searching for the Real: ‘Family Business,’ Pornography, and Reality Television." M/C Journal 7, no. 4 (2004). http://dx.doi.org/10.5204/mcj.2386.

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Showtime’s reality TV series Family Business opens with a black screen and audio: the whirring of a 16mm projector, the home movies of a generation ago. The sound connotes nostalgia, memory, family, and film. In my childhood, the sound of the projector meant family time, a glance back at our toddler years, the years of Sunday dinners in the suburbs, when my mother and all my aunts still smoked. Later, as my sister and cousins whose childhoods are fixed in that celluloid began to date and marry, family movies were a means of introducing the soon-to-be-married other into the family; this was how
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Mills, Brett. "Make Me Laugh: Creativity in the British television comedy industry." HUMOR 29, no. 2 (2016). http://dx.doi.org/10.1515/humor-2015-0051.

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AbstractThe three-year (2012–2015) AHRC-funded research project Make Me Laugh: Creativity in the British Television Comedy Industry worked with writers, producers, directors and other industry personnel to map the productions they work on and follow their labor as they move from one job to another and strive to maintain a career. This article draws on interview material from this project to investigate the ways in which comedy workers negotiate the maintenance of their creativity within economic, cultural and industrial contexts such as policy, funding, and the whims of broadcasters and produc
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Zanussi, Krzysztof, and Ewa Ciszewska. "Filmowiec nie może działać wyłącznie lokalnie. Z Krzysztofem Zanussim o współpracy z kinematografią niemiecką rozmawia Ewa Ciszewska." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 23, no. 32 (2018). http://dx.doi.org/10.14746/i.2018.32.14.

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The paper presents an interview with Krzysztof Zanussi (born 17 June 1939), one of the most renowned award-winning Polish film directors. Some of his numerous films for television and cinema have been made in co-operation with German producers, including Manfred Durniok. His film Roads in the Night (Wege in der Nacht, 1979) was presented in 1980 in Cannes as part of the section “Un certain regard”. In Germany, Zanussi filmed not only some of his own screenplays, such as Imperative (Imperativ, 1982 – Special Jury Prize at the Venice International Film Festival in 1982), but also adaptations of
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Rasmussen, Nina Vindum. "'DATA, CAMERA, ACTION: HOW ALGORITHMS ARE SHAKING UP EUROPEAN SCREEN PRODUCTION'." AoIR Selected Papers of Internet Research, October 5, 2020. http://dx.doi.org/10.5210/spir.v2020i0.11311.

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Films and television series you watch online are watching you back. Algorithms and data analytics are making deeper inroads into film and television production in Europe: Belgian company ScriptBook offers data-driven script analysis and automated story generation, which the company sees as co-authorship between humans and machines. At the same time, data-driven streamers like Netflix and Amazon are investing heavily in local-language content. This paper examines how these developments affect creative labour in the European screen industry. More specifically, it zooms in on the development stag
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Davis, Jessica L., Gianna Savoie, and Nancy Longnecker. "Science, fiction, and Santa Claus: Hollywood creator and consultant perceptions of fictional science in film and television." Frontiers in Communication 8 (February 23, 2023). http://dx.doi.org/10.3389/fcomm.2023.1029782.

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IntroductionFrom the high-stakes operating room of a Seattle hospital, to the shattered remains of a planet in a galaxy far, far away, Hollywood is often critiqued for its representations of scientific knowledge, methods, and/or technology. Existing research into Hollywood representations of science focuses primarily on those that do not align with expert consensus, and on how audiences engage with these representations — such as how misinformation in fictional narratives influences us. This paper, instead, approaches the matter of fictional science in fictional narratives (FiSci) from the per
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Rosique-Cedillo, Gloria. "The citizen’s interest for in the TV contents: the new TV actors." Comunicar 13, no. 25 (2005). http://dx.doi.org/10.3916/c25-2005-128.

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Since its very beginning television has always had the contents as an angular stone, basic source composing the wire netting of programmes that move the audio-visual sector, due that the interest of various actors of communication, State, announcers, TV chains and producers turn around them and on the other hand, they have been also the cultural product that the spectators have been receiving since decades in their homes. Nowadays in the landscape of television environment we talk about «quality of TV programmes» and «values», there is discontent between certain groups regarding a TV which ope
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Rayman, Jennifer. "The Politics and Practice of Voice: Representing American Sign Language on the Screen in Two Recent Television Crime Dramas." M/C Journal 13, no. 3 (2010). http://dx.doi.org/10.5204/mcj.273.

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Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of rep
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38

Nijhawan, Amita. "Mindy Calling: Size, Beauty, Race in The Mindy Project." M/C Journal 18, no. 3 (2015). http://dx.doi.org/10.5204/mcj.938.

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When characters in the Fox Television sitcom The Mindy Project call Mindy Lahiri fat, Mindy sees it as a case of misidentification. She reminds the character that she is a “petite Asian woman,” that she has large, beautiful breasts, that she has nothing in common with fat people, and the terms “chubbster” and “BBW – Big Beautiful Woman” are offensive and do not apply to her. Mindy spends some of each episode on her love for food and more food, and her hatred of fitness regimes, while repeatedly falling for meticulously fit men. She dates, has a string of failed relationships, adventurous sexua
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O'Meara, Radha, and Alex Bevan. "Transmedia Theory’s Author Discourse and Its Limitations." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1366.

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As a scholarly discourse, transmedia storytelling relies heavily on conservative constructions of authorship that laud corporate architects and patriarchs such as George Lucas and J.J. Abrams as exemplars of “the creator.” This piece argues that transmedia theory works to construct patriarchal ideals of individual authorship to the detriment of alternative conceptions of transmediality, storyworlds, and authorship. The genesis for this piece was our struggle to find a transmedia storyworld that we were both familiar with, that also qualifies as “legitimate” transmedia in the eyes of our prospe
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Rushkoff, Douglas. "Coercion." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2193.

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The brand began, quite literally, as a method for ranchers to identify their cattle. By burning a distinct symbol into the hide of a baby calf, the owner could insure that if it one day wandered off his property or was stolen by a competitor, he’d be able to point to that logo and claim the animal as his rightful property. When the manufacturers of products adopted the brand as a way of guaranteeing the quality of their goods, its function remained pretty much the same. Buying a package of oats with the Quaker label meant the customer could trace back these otherwise generic oats to their sour
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Kustritz, Anne. "Transmedia Serial Narration: Crossroads of Media, Story, and Time." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1388.

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The concept of transmedia storyworlds unfolding across complex serial narrative structures has become increasingly important to the study of modern media industries and audience communities. Yet, the precise connections between transmedia networks, serial structures, and narrative processes often remain underdeveloped. The dispersion of potential story elements across a diverse collection of media platforms and technologies prompts questions concerning the function of seriality in the absence of fixed instalments, the meaning of narrative when plot is largely a personal construction of each au
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Kabir, Nahid. "Depiction of Muslims in Selected Australian Media." M/C Journal 9, no. 4 (2006). http://dx.doi.org/10.5204/mcj.2642.

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 Give me the liberty to know, to utter, and to argue freely according to conscience, above all liberties. —John Milton (1608-1674)
 
 
 Introduction
 
 The publication of 12 cartoons depicting images of Prophet Mohammed [Peace Be Upon Him] first in Denmark’s Jyllands-Posten on 30 September 2005, and later reprinted in European media and two New Zealand newspapers, sparked protests around the Muslim world. The Australian newspapers – with the exception of The Courier-Mail, which published one cartoon – refrained from reprinting the cartoons, a
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Green, Lelia. "Sex." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2000.

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This paper addresses that natural consort of love: sex. It particularly considers the absence of actual sex from mainstream popular culture and the marginalisation of 'fun' sex as porn, requiring its illicit circulation as ‘illegitimate’ videos. The absence of sex from films classified and screened in public venues (even to over-18s) prevents a discourse about actual sex informing the discourse of love and romance perpetuated through Hollywood movies. The value of a variety of representations of sexual practice in the context of a discussion of love, sex and romance in Western cinema was brief
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Rutherford, Leonie Margaret. "Re-imagining the Literary Brand." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1037.

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IntroductionThis paper argues that the industrial contexts of re-imagining, or transforming, literary icons deploy the promotional strategies that are associated with what are usually seen as lesser, or purely commercial, genres. Promotional paratexts (Genette Paratexts; Gray; Hills) reveal transformations of content that position audiences to receive them as creative innovations, superior in many senses to their literary precursors due to the distinctive expertise of creative professionals. This interpretation leverages Matt Hills’ argument that certain kinds of “quality” screened drama are d
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Ibrahim, Yasmin. "Weblogs as Personal Narratives." M/C Journal 9, no. 6 (2006). http://dx.doi.org/10.5204/mcj.2690.

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 Introduction In not dismissing the personal narratives of individuals, Frederic Jameson describes the ‘telling of the individual story and individual experience as ultimately involving the whole laborious process of telling of the collectivity itself’ (cf. Bhabha 292). The construction of a nation involves a process of selection and textual mediation which binds an imagined community to a constructed past. Homi Bhabha refers to the ‘cultural construction of nationness as a form of social and textual affiliation’ (292). He observes how narratives employ a host of complex st
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Dabek, Ryszard. "Jean-Luc Godard: The Cinema in Doubt." M/C Journal 14, no. 1 (2011). http://dx.doi.org/10.5204/mcj.346.

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Photograph by Gonzalo Echeverria (2010)The Screen would light up. They would feel a thrill of satisfaction. But the colours had faded with age, the picture wobbled on the screen, the women were of another age; they would come out they would be sad. It was not the film they had dreamt of. It was not the total film each of them had inside himself, the perfect film they could have enjoyed forever and ever. The film they would have liked to make. Or, more secretly, no doubt, the film they would have liked to live. (Perec 57) Over the years that I have watched and thought about Jean-Luc Godard’s fi
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