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1
Ortiz-Sobrino, Miguel-Ángel. "Television, globalization and social change." Comunicar 13, no. 25 (October 1, 2005): 79–85. http://dx.doi.org/10.3916/c25-2005-011.
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XXI Century television is undergoing a process of transformation. New actors, new products and new ways of consuming television are on the lookout. Interactivity will make the traditional concept of television disappear. Television viewers can design their own grids independently of the operator’s schedule. The convergence of television and computer, Internet, telephone and video games bring us a new concept of television. Television faces two big transformations: digital transformation and that of the concept of «general public». The computer, the computer screen, has the calling of turning into a reception screen in which both computer and television functions fuse. Latest generation mobile telephony is integrating itself is this multimedia complex, in connection with television. Future television cannot dissociate from the Internet. La televisión del siglo XXI está en proceso de transformación. Nuevos actores, nuevos productos y nuevas formas de consumir televisión se atisban en el horizonte. La interactividad con la televisión hará desaparecer el concepto de televisión tradicional. El telespectador puede confeccionar sus propias parrillas, independientemente de la programación del operador. La convergencia de la televisión con el ordenador, Internet, el teléfono y los videojuegos nos llevan a un nuevo concepto de la televisión. La televisión se enfrenta a dos grandes transformaciones: la transformación digital y del concepto «público general». La nueva televisión propiciará una nueva forma de ver la televisión, en la que el espectador se olvidará del mundo para dialogar con la máquina e incluso, tomar decisiones que afecten a la programación. El anunciado apagón digital, previsto en España para 2010, va a revolucionar el panorama televisivo español. La oferta se ampliará y se sumará a la oferta del cable, satélite y teléfono. Se ampliarán las ofertas de televisión de pago. Estaremos ante un panorama absolutamente cambiante.
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Meikle, Graham, and Sherman Young. "Beyond Broadcasting? TV for the Twenty-First Century." Media International Australia 126, no. 1 (February 2008): 67–70. http://dx.doi.org/10.1177/1329878x0812600108.
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TV is being reshaped, reimagined and reinvented in unpredictable ways. Broadcasting has become only one of a set of options for the distribution of TV content, alongside cable, DVDs, internet downloads, and online video streams. Simultaneously, audiences have embraced new modes of engagement with audio-visual products, with many seamlessly shifting from the role of consumer to that of producer. Broadcasting still reigns, but its place as the normative television form is under greater threat than ever. The articles in this issue of MIA suggest that, while it may no longer be the cultural norm, broadcasting may still have a role to play in whatever television becomes. The current phase of television suggests contested continuities rather than radical seismic shifts, as the new technologies open up possibilities beyond broadcasting. Of most interest is the emerging tension between what newly empowered users want television to be, and the institutional desire to dictate the direction and pace of change.
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Hearn, Alison. "Witches and bitches: Reality television, housewifization and the new hidden abode of production." European Journal of Cultural Studies 20, no. 1 (September 19, 2016): 10–24. http://dx.doi.org/10.1177/1367549416640553.
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The governance of affect by capital has seen its ideological legitimation and emblematic site of production in the mainstream television industry, specifically reality television programs, as they provide templates for affective self-presentation to the public at large. As even a cursory glance at most reality television production demonstrates, it is most often women’s bodies and self-concepts that bear the burden of signifying and legitimating the message of this new economic formation: ‘conform to our template, be seen, and build a reputation!’ This article will focus on the Real Housewives franchise, which along with its network Bravo is credited with saving the fortunes of NBC, as the paradigmatic example of these new narrative trends and business models. It will interrogate the historical resonances and discontinuities between the economy of affective visibility now apparent on reality television and its modes of production and the origins of the ‘real’ housewife in early capitalism. At this time, women’s skills, bodies and reproductive capacities were violently restructured; forbidden from earning a wage or having money, women’s work inside and outside the home was simultaneously appropriated and concealed. As reality television inaugurates new kinds of labor and value creation in the 21st century, it does so in ways that are deeply gendered or ‘housewifized’; reality television’s forms of hidden, precarious, and unregulated labour recall the appropriation and denigration of the value of women’s work by systems of capitalist expansion in the 16th and 17th centuries.
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Pilati, Antonio, and Emanuela Poli. "Digital terrestrial television." Modern Italy 6, no. 2 (November 2001): 195–204. http://dx.doi.org/10.1017/s1353294400011984.
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SummaryIn Italy, as in much of Europe, the beginning of the new century has brought a crucial period of change to the television system. The change affects technology, strategies and regulation of the medium. This article starts by reconstructing the current situation and the emerging trends at a global level. It then analyses the state of the Italian television industry on the eve of the introduction of digital terrestrial broadcasting, setting out the opportunities and potential developments this opens up.
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Keeler, Amanda. "Old new media: Closed-circuit television and the classroom." Convergence: The International Journal of Research into New Media Technologies 24, no. 6 (December 18, 2016): 538–53. http://dx.doi.org/10.1177/1354856516682927.
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This article explores closed-circuit television (CCTV) and its ‘bright promise stage’, as it was contemplated, marketed, and implemented as a low-cost classroom tool. After the Federal Communications Commission issued the 1952 Sixth Report and Order, many schools and communities sought to bring educational television to the classroom. However, this model was financially out of reach for most. CCTV was a more affordable version of educational television that could cater to specific classroom needs and allow schools to create their own in-house network. CCTV represents just one of many new technologies that have been promoted as ideal for classroom instruction over the last century. Using articles and advertisements from popular press magazines, educational journals, books, and archival materials, this article seeks to illuminate the ‘social practices and conflicts’ that contributed to the conversations around CCTV’s classroom utility. It concludes by connecting CCTV’s promotion in the 1950s to more recent new media technologies.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (November 2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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McDonald, Jan. "New Women in the New Drama." New Theatre Quarterly 6, no. 21 (February 1990): 31–42. http://dx.doi.org/10.1017/s0266464x0000395x.
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While considerable attention has been paid in recent years to the work of women dramatists during the wave of proto-feminist activity in the early years of the present century, the way in which women characters – whether created by male or female writers – were presented has been less adequately investigated. Here, Jan McDonald, Head of the Department of Theatre, Film, and Television Studies in the University of Glasgow, explores the work of well-known and largely-forgotten playwrights alike, discussing the ways in which the ‘new drama’ – the subject of Jan McDonald's recent book for the ‘Macmillan Modern Dramatists’ series – reflected the concerns of the ‘new woman’.
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Kahan, Robert. "America in a Visual Century." Journalism Quarterly 69, no. 2 (June 1992): 262–65. http://dx.doi.org/10.1177/107769909206900202.
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While we are poised on the edge of a new visual century, this essay looks back through the eyes of a Jewish woman who could clearly recall the 19th century. At midcentury this immigrant, who remembered Rumania of the 1890s, was most struck by wrestling on U.S. television. In her time, and since, the numbers of visual media have expanded, from early flickering black and white films to holograms and “virtual reality.” Words remain our most important symbols, but they are merging with other ways of presenting information. In a way, we are all immigrants in our own time.
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Trinkunas, Tatiana. "The Main Approaches to Historical and Cultural Analysis of the Films." nauka.me, no. 1 (2017): 0. http://dx.doi.org/10.18254/s111111110000014-8.
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The article deals with the XX century — a century of active development, the visual technology diffusion, that have shaped a new way of thinking. Nowadays we can note the special role of «visuality» in everyday life, which has become almost ubiquitous: movies, advertising, photo signboard, television.
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Dates, Jannette L., and Thomas A. Mascaro. "African Americans in Film and Television: Twentieth-Century Lessons for a New Millennium." Journal of Popular Film and Television 33, no. 2 (July 2005): 50–55. http://dx.doi.org/10.3200/jpft.33.2.50-55.
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Erdei, Ildiko. "A new life on the small screen and around it: The beginnings of television in socialist Yugoslavia (1955–1970)." Issues in Ethnology and Anthropology 10, no. 2 (February 28, 2016): 405. http://dx.doi.org/10.21301/eap.v10i2.6.
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Ever since television became institutionalized in socialist Yugoslavia in the late 1950’s, it was closely associated with the idea of a „new life“ in socialist society. As a new technology, as a modern object in the socialist household, and as a medium which enabled the transmission of desirable content for creating socialist citizens and shaping models of socialist „culturality“ and entertainment, television represents a prime terrain for studying the transformations of culture and society in the latter half of the 20th century in Yugoslavia, as well as in the rest of Europe and the world. The paper is mostly based a number of key sources, memoirs, which speak of the history of television in Yugoslavia from the point of view of creators and a wider circle of experts who were involved in it. In this paper I will attempt to shed some light on the dynamics of the process of introducing television into Yugoslavian society, the perplexities, confusions and tensions which this new technology – simultaneously the product and the mediator of modernity – brought with it. Special attention is given to the relationship between television as technology and television as a medium of mass communication, which permanently marked the beginnings of television in Yugoslavia with the tension between „tech“ and „programming“, as well as to the role of television in everyday life.
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Later, Naja. "The Indecent Screen: Regulating Television in the Twenty-First Century, Cynthia Chris (2019)." Journal of Digital Media & Policy 11, no. 3 (November 1, 2020): 361–64. http://dx.doi.org/10.1386/jdmp_00030_5.
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Fickers, Andreas. "Towards a New Digital Historicism?" Making Sense of Digital Sources 1, no. 1 (February 21, 2012): 19. http://dx.doi.org/10.18146/2213-0969.2012.jethc004.
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This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an academic profession, a similar trend of an emerging digital historicism today seems absent. This essay aims at reflecting on the challenges and chances that the discipline of history – and the field of television history in particular – is actually facing. It offers some thoughts and ideas on how the digitization of sources and their online availability affects the established practices of source criticism.
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Ginsburg, Faye. "INDIGENOUS MEDIA FROM U-MATIC TO YOUTUBE: MEDIA SOVEREIGNTY IN THE DIGITAL AGE." Sociologia & Antropologia 6, no. 3 (December 2016): 581–99. http://dx.doi.org/10.1590/2238-38752016v632.
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Abstract This article covers a wide range of projects from the earliest epistemological challenges posed by video experiments in remote Central Australia in the 1980s to the emergence of indigenous filmmaking as an intervention into both the Australian national imaginary and the idea of world cinema. It also addresses the political activism that led to the creation of four national indigenous television stations in the early 21st century: Aboriginal People's Television Network in Canada; National Indigenous Television in Australia; Maori TV in New Zealand; and Taiwan Indigenous Television in Taiwan); and considers what the digital age might mean for indigenous people worldwide employing great technological as well as political creativity.
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Bay, Jessica, Alaina Schempp, Daniela Schlütz, and R. Colin Tait. "Book Reviews." Projections 15, no. 1 (March 1, 2021): 88–105. http://dx.doi.org/10.3167/proj.2021.150106.
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Smith, Anthony N., Storytelling Industries: Narrative Production in the 21st Century. London: Palgrave MacMillan, 2018, 266 pp., $59.99 (eBook), ISBN: 978-3-319-70597-2. Harrod , Mary, and Katarzyna Paszkiewicz, eds., Women Do Genre in Film and Television. New York: Routledge, 2018, 266 pp., $39.16 (paperback), ISBN: 9780367889845.García, Alberto N. ed., Emotions in Contemporary TV Series. New York: Palgrave Macmillan, 2016, 253 pp., $89.00, ISBN: 978-1-137-56885-4.Dunleavy, Trisha. Complex Serial Drama and Multiplatform Television. New York: Routledge, 2019, 202 pp., $46.95, ISBN: 9781138927759.
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Bednařík, Petr. "The Production of Czechoslovakia´s Most Popular Television Serial The Hospital On The Outskirts and its Post-1989 Repeats." European Television Memories 2, no. 3 (June 30, 2013): 27. http://dx.doi.org/10.18146/2213-0969.2013.jethc029.
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In 1970s and 1980s, the television serial "Hospital on the Outskirts" achieved success with a large audience in Czechoslovakia as well as abroad. In 1981, the West German television Norddeutscher Rundfunk even co-produced the shooting of another 7 episodes. After the change of regime in 1989, the series first made a comeback in the form of re-runs. And then at the beginning of the 21st century, Czech Television produced a sequel named “Hospital on the Outskirts After Twenty Years”. The sequel was introduced in 2003 and its release was accompanied by great anticipation of the audience as well as reviewers. Czech Television shot more continuing episodes in 2008 – “Hospital on the Outskirts – New Life Stories”.
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Schiller, Naomi. "Changing the Channel: Class Conflict, Everyday State Formation, and Television in Venezuela." Latin American Perspectives 45, no. 3 (February 21, 2018): 124–40. http://dx.doi.org/10.1177/0094582x18758703.
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The formation of new state television outlets in Venezuela during the Chávez era was a process of dismantling and remaking hierarchies among social classes and between the fields of state and community media production. An analysis of the involvement of community media producers in creating a new state television outlet in Caracas and the collaboration between community and state producers in the first decade of the twenty-first century suggests that the influx of community media producers into state media projects and vice versa was mutually transformative. Such an analysis brings to the fore what vertical topographies of power obscure: the conflict and cooperation between different social sectors that were central to the making of both official and unofficial media projects aligned with the Chávez-led Bolivarian Revolution. In these joint efforts we see the state as an unfolding process of negotiation and struggle. La formación de nuevos medios televisivos en Venezuela durante la era de Chávez implicó desmantelar y rehacer jerarquías entre clases sociales, así como las áreas de producción de medios estatal y comunitaria. Un análisis de la participación de productores de medios comunitarios en la creación de una nueva emisora televisiva en Caracas y la colaboración entre productores estatales y la comunidad en la primera década del siglo XXI sugiere que el influjo de productores de medios comunitarios en los medios estatales y viceversa dieron lugar a transformaciones mutuas. Dicho análisis pone en evidencia algo que las topografías verticales del poder ocultan: el conflicto y cooperación entre los diferentes sectores sociales fundamentales a la creación, tanto oficial como extraoficial, de los proyectos de medios asociados a la Revolución Bolivariana chavista. Es en estos esfuerzos que el estado se nos revela como un proceso asentado en la lucha y la negociación.
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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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Wood, Brennon. "A World in Retreat: The Reconfiguration of Hybridity in 20th-Century New Zealand Television." Media, Culture & Society 26, no. 1 (January 2004): 45–62. http://dx.doi.org/10.1177/0163443704039709.
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Martín-Antón, Javier. "Las primitivas recepciones de la televisión en españa: la British Broadcasting Corporation (BBC) se sintonizó antes que televisión española (TVE) en Asturias." RIHC. Revista Internacional de Historia de la Comunicación 2, no. 15 (2020): 189–211. http://dx.doi.org/10.12795/rihc.2020.i15.10.
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The present investigation on the history of television and its territorial implantation has brought to light some singularities and has highlighted inaccuracies that have been considered valid for more than half a century. The procedure used has been based on the review and exhumation of sources and on obtaining unpublished testimonies. To do this we have focused on a province — Asturias, Spain — for which we provide a new chronology that includes forgotten and/or unknown events up to the present. Our contribution supposes, on the one hand, a historical review of the implementation of television that provides a correction and specification of the events necessary to avoid errors in future teaching and research work and, on the other hand, an invitation to review the television phenomenon and its chronology in other regions in which there may have been similarities with the findings that we present here
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Vinogradova, Ekaterina. "Latin American TV Series as the Channel for Intercultural Communication with Europe." Contemporary Europe 99, no. 6 (November 1, 2020): 112–18. http://dx.doi.org/10.15211/soveurope62020112118.
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The study of intercultural communication within large cultures is particularly relevant in the 21st century in an era of globalization. Nowadays, thanks to the development of new information channels, such as social networks, as well as public diplomacy, branding of culture and art, popularization of national cultural traditions has become an integral part of the cultural diplomacy of Latin American countries. Despite globalization that has led to the global hybridization of television production, Latin American television series still retain the characteristics of unique products, introducing the foreign viewer to the culture and traditions of the Latin American region. In the 21st century, leading Latin American TV companies have changed the content of TV series aimed at different groups of target audiences. Social topics related to inequality, the emergence of civil society, problems of young people, and criminalization of society have found their way beyond the Latin American continent and have received a strong response in European countries. The Netflix site has become an important communication channel for Latin American television serial products. Television series, as the main marketing product of the leading Latin American media conglomerates, have contributed to the development of intercultural communication with European target audiences, where Latin American television stations have found similar social and cultural features and have become a kind of brand of this television genre. The popularity of Latin American serial products in Europe is due to the emergence of hybrid series and joint Latin American-European production of this type of entertainment television products. The article explores the stages of Latin American TV series' distribution in European countries and their impact on intercultural communication between Latin America and Europe.
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Ramsey, Jeffrey T. "Cable Guys: Television and Masculinities in the 21st Century Amanda D.Lotz. New York: New York University Press, 2014." Journal of American Culture 38, no. 4 (December 2015): 417–18. http://dx.doi.org/10.1111/jacc.12459.
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Lawtoo, Nidesh. "Black Mirrors." Philosophy Today 65, no. 3 (2021): 523–47. http://dx.doi.org/10.5840/philtoday2021517406.
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Reflections on mimesis have tended to be restricted to aesthetic fictions in the past century; yet the proliferation of new digital technologies in the present century is currently generating virtual simulations that increasingly blur the line between aesthetic representations and embodied realities. Building on a recent mimetic turn, or re-turn of mimesis in critical theory, this paper focuses on the British science fiction television series, Black Mirror (2011–2018) to reflect critically on the hypermimetic impact of new digital technologies on the formation and transformation of subjectivity.
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Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.
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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.
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Mayer, Vicki. "The MAAFiA Mystique." Television & New Media 21, no. 6 (July 26, 2020): 616–20. http://dx.doi.org/10.1177/1527476420918831.
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What would a manifesto look like for media and creative workers in the twenty-first century? How would we account for decades of the transformation of work to fit the political economies of labor and data? This essay for the twentieth anniversary of Television & New Media attempts to answer these questions.
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Gutiérrez Rentería, María Elena. "Television and Digital Media in the 21st Century: New Business, Economic and Technological Paradigmsby Zvezdan Vukanovic." International Journal on Media Management 12, no. 2 (July 2010): 113–14. http://dx.doi.org/10.1080/14241277.2010.510992.
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Norr, Henry. "National Languages and Soviet Television: A Statistical Report." Nationalities Papers 13, no. 1 (1985): 84–105. http://dx.doi.org/10.1080/00905998508408012.
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In the last two decades the Soviet Union has definitively entered the age of television. Although a Petersburg engineer allegedly “laid the foundation of television” (by designing the cathode ray tube!) as far back as the beginning of the century, and a Russian engineer in Uzbekistan reportedly transmitted the image of a human face in 1928, the Soviets lagged well behind the Western world in the development of the new medium through the 1950s. In 1960, however, the Central Committee of the Communist party declared that “television, along with the press and radio broadcasting, is called upon to play an important role in the education of Soviet people in the spirit of communist principles [ideinost'] and morality, of intransigence toward bourgeois ideology and morality, [and] in the mobilization of the workers …. “ Thereafter, Soviet television progressed at a rapid rate. Between 1961 and 1975, the number of television receivers in the country increased more than eleven-fold. The enormous Ostankino Center in Moscow was built to serve as the main production and transmission base, and a network of cables, relay stations and earth satellites was established to carry broadcasts to the far corners of the Union.
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Stein, Claudia. "The Birth of Biopower in Eighteenth-Century Germany." Medical History 55, no. 3 (July 2011): 331–37. http://dx.doi.org/10.1017/s0025727300005354.
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In April 2009, Sir David Attenborough, the respected face and voice of British natural history programmes for more than fifty years, became the patron of a new charity, the Optimum Population Trust (OPT), an organisation campaigning to limit the world's population. His reason for accepting the honour, he confessed to The Times, was that he was terribly worried about the dramatic increase of the world's population and the effect it was having on the quality of human life throughout the world:There are three times as many people in the world as when I started making television programmes only a mere fifty-six years ago. It is frightening. We can't go on as we have been. We are seeing the consequences in terms of ecology, atmospheric pollution and in terms of the space and food production.
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Pillai, Nicolas, and Vanessa Jackson. "How television works: Discourses, determinants and dynamics arising from the re-enactment of Jazz 625." Journal of Popular Television 9, no. 1 (March 1, 2021): 139–57. http://dx.doi.org/10.1386/jptv_00046_1.
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Re-enactment can enable participatory researchers to ‘experience’ through qualitative ethnography the dynamics of how teams of practitioners employ tacit skills to make decisions and collaborate. This article explores the practice-as-research re-enactment of a historic 1960s television show, Jazz 625 (1964–66). With the emphasis on the process rather than the product through the production of a modern-day interpretation of the original – entitled Jazz 1080 – the researchers draw conclusions around the complex workings of a television production team through the creation of a new artefact. The empirical research captures how professional attitudes and institutionalized forms of collaborative creative labour shape programme-making. Comparisons are made between the original and re-enacted productions, with the conclusion being made that, despite advances in technology, the practices and processes of television production are remarkably similar between the 1960s and the early twenty-first century.
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Grüters, Ruth, and Knut Ove Eliassen. "Medieøkologien i SKAM." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 6, no. 2 (November 28, 2017): 60–66. http://dx.doi.org/10.7146/ntik.v6i2.99078.
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AbstractTo understand the success of SKAM, the series’ innovative use of “social media” must be taken into consideration. The article follows two lines of argument, one diachronic, the other synchronic. The concept of remediation allows for a historical perspective that places the series in a longer tradition of “real time”-fictions and media practices that span from the epistolary novels of the 18th century by way of radio theatre and television serials to the new media of the 21st century. Framing the series within the current media ecology (marked by the connectivity logic of “social media”), the authors analyze how the choice of the blog as the drama’s media platform has formed the ways the series succeeded in affecting and mobilizing its audience. Given the long tradition of strong pedagogical premises in the teenager serials of publicly financed Norwegian television, the authors note the absence of any explicit media critical perspectives or didacticism. Nevertheless, the claim is that the media-practices of the series, as well as the actions and discourses of its followers (blogposts, facebook-groups, etc.), generate new insights and knowledge with regards to the series’ form, content, and practices.
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Funes, Virginia-Silvina. "Spectators, the XXI student." Comunicar 12, no. 24 (March 1, 2005): 105–12. http://dx.doi.org/10.3916/c24-2005-16.
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Nowadays, teachers often face apathethic and demotivated pupils. Nevertheless, these students do not show either apathy or demotivation when they stop being students and become spectators: of television, of cinema, of new technologies, of PC displays. If in the 19th century we had citizens and in the 20th century we had speakers, in 21th century we have the figure of the spectator, whose main social experience is the multiplicity of connections with the flow of information. If school was created to learn reading and writing, what do we have to learn watching? It seems that the media youngsters should teach us the way to. Cotidianamente los profesores de los centros educativos se enfrentan con un alumnado apático y desmotivado. Sin embargo, ni apatía ni desmotivación es lo que demuestran cuando dejan de ser alumnos y se convierten en espectadores de televisión, de cine, de las tecnologías, de las pantallas del PC. Si en el siglo XIX tenemos al ciudadano, y en el XX tenemos al parlante, en el siglo XXI tenemos la figura del espectador, cuya experiencia social fundamental es la experiencia de la multiplicidad de conexiones con el flujo de la información. Si para aprender a leer y a escribir inventamos la escuela, ¿qué dispositivos tenemos para aprender a mirar? Parece que tenemos que aprender nosotros de los jóvenes mediáticos.
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Huff, Peter A. "New Apologists in America's Conservative Catholic Subculture." Horizons 23, no. 2 (1996): 242–60. http://dx.doi.org/10.1017/s0360966900030292.
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AbstractTraditional Catholic apologetics is currently experiencing a revival in U.S. Catholic thought. Modeled in part on the apologetics of the preconciliar Catholic Literary Revival, the new Catholic apologetics draws strategically from the intellectual world of the pre-Vatican II church. Responsive to the conditions of postconciliar Catholicism and later-twentieth-century U.S. culture, the new apologists also exploit the resources of contemporary popular culture to advance a critique of secular society and the status quo in American Catholic life. While defending traditional Catholic doctrine, the new generation of apologists has contributed to the creation of a novel form of American Catholicism—technologically sophisticated, uniquely ecumenical, and aggressively separatist. Utilizing the lecture circuit, the print media, audio and video recordings, cable television, and the internet, the new apologists have made apologetics a vibrant industry of the conservative Catholic subculture in America.
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Tweedie, James. "Serge Daney, Zapper: Cinema, Television, and the Persistence of Media." October 157 (July 2016): 107–27. http://dx.doi.org/10.1162/octo_a_00261.
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The essay considers Serge Daney's transition from a film critic schooled in New Wave cinephilia to a television critic fascinated by the possibilities of the small screen and the status of cinema as an old medium. Looking in the “rear-view mirror,” Daney challenges foundational film theory that situates cinema at the forefront of technological and cultural modernity, and he introduces the language of belatedness, aging, and delay into his writing on the “adult art” of film. In the 1980s, Daney began to chronicle the experience of watching cinema on television, with old and new media spiraling into each other and the critic engaged in a process of archaeology focused as much on absent or damaged images as the imaginary plenitude of the screen. Tweedie's essay frames the critic's work as a key reference point for film studies in the late twentieth century because it counters both the modernist euphoria of theory produced decades before and the enthusiasm surrounding the digital revolution in the years just after his death, with new media in the vanguard once occupied by cinema. Instead of recomposing this familiar narrative of innovation, succession, and obsolescence, Daney constructs a retrospective and intermedial theory of film, with the act of watching cinema on television revealing both the diminution and the persistence of its most utopian ambitions.
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Bronner, Simon J. "Questioning the Future: Polling Americans at the Turn of the New Millennium." Prospects 27 (October 2002): 665–85. http://dx.doi.org/10.1017/s036123330000137x.
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Elected in 1996 to serve as President into a new century, Bill Clinton announced a national mood of expectation in his second inaugural address: “It is our great good fortune that time and chance have put us not only at the edge of a new century, in a new millennium, but on the edge of a bright new prospect in human affairs — a moment that will define our course, and our character, for decades to come.” It was a moment, in short, when Americans, used to thinking ahead, were asked intensely about the future. Known for his close attention to polling data in policy making, Clinton responded to a frequently reported categorization of Americans during the 1990s as self-absorbed. Clinton's homespun message in his second inaugural address called on Americans planning their individual destinies to think collectively when he said simply, “[T]he future is up to us.” As the year 2000 approached, American polls repeatedly measured the national “mood” in light of individual beliefs about the future. Gallup, Torrance, Zogby, CNN (Cable News Network), USA Today, ABC News, and the Pew Research Center, among others, polled Americans about their feelings for the impending millennium “event” and their hopes and fears for the next year, generation, and century. Based on the experience of the last turn of the century, many publishers, educators, and politicians encouraged reflections on the century just past as much as the era ahead, but it was a rare poll that actually asked Americans about their view of the past. To be sure, authorities were queried for the greatest events, presidents, books, films, and television shows of the last century, but it was as much a sign of the difference in their historical perspective from the man or woman on the street as it was some national reflective urge.
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Blumenthal-Barby, Martin. "Counter-Music: Harun Farocki's Theory of a New Image Type." October 151 (January 2015): 128–50. http://dx.doi.org/10.1162/octo_a_00207.
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Harun Farocki's 2004 installation Counter-Music explores the issue of surveillance. It probes different kinds of surveillance and, in so doing, delineates historical trajectories, juxtaposing, for instance, state surveillance under Louis XIV in late-seventeenth-century France (through public streetlights) with more recent modes of observation via surveillance cameras (through closed-circuit-television systems). The tacit epicenter of Farocki's installation is the novel form of surveillance in which cameras are linked with automatic-recognition systems that no longer rely on human beings as observers: Human beings have been replaced by software designed to surveil. This new kind of surveillance, in which images are recorded and then “viewed” by automatic “eyes”—that is, analyzed by algorithmic software—generates what Farocki calls “operational images” to be used within systemic surveillance operations.
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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.
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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.
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Overney, Laetitia. "Women and Money Management: Problematising Working-class Subjectivities in French Television Programmes During and after the Post-war Boom." Culture Unbound 11, no. 3-4 (January 30, 2020): 443–65. http://dx.doi.org/10.3384/cu.2000.1525.19v11a24.
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This article looks at French television during and after the post-war period to explore the relationships that programmes systematically established between home-making in social housing, housekeeping money management and women. It sheds light on the gendered dimensions of thrift and dwelling. French 1960’s Television reflected a range of urban transformations characteristic of the period: the development of high-rise estates, social housing, shopping centers. How should people inhabit these new environnements, new structures of dwelling and new services in order to keep up with regular household expenses such as paying rent, utility bills, buying food or covering child rearing costs? Since the 19th century, women had generally managed household budgets as part of the everyday domestic cultures. These heavy financial responsibilities were relayed by televised documentaries prompting questions about the types of in/appropriate activities and attitudes, knowledges and expertises shown on mainstream TV at the time. Television was constantly problematizing working-class subjectivities through women’s voice. On the one hand, television reports showed women always counting the money and thrifting in order to control the household comsumption and to avoid debts. In the documentaries I analyse, the women describe in detail their economic problems and moral economies they are conditioned to operate within. On the other hand, TV programmes were replete with the specialist home economics tips that were meant to spread normative representations of dwelling in order to educate housewives. Women’s activities are tied to the welfare state which is revealed in all its complexity, controlling with one hand the rationalisation of domestic budgets and practices, and, with the other, improving living conditions and protecting individuals against vulnerabilities.
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Chepornyuk, Anastasiya. "Infotainment as media communication neo-genre: functional and stylistic analysis." Actual issues of Ukrainian linguistics: theory and practice, no. 37 (2018): 124–40. http://dx.doi.org/10.17721/apultp.2018.37.124-140.
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The article is devoted to the functional-stylistic analysis of the new genre of Ukrainian television news – infotainment. The author emphasizes that this genre is currently actively developing in the field of national television. In addition, it has a number of specific features inherent only to it. On the example of the TV program "Абзац!" on the New Channel and "M1 News" on the M1 channel the author provides an analysis of the broadcasting media specifics in the television programs of the infotainment genre. Infotainment – literally "infotainment = information + entertainment" – is a diffuse genre, which emerged as functional mix of two genres – informational and entertainment. The essence of the infotainment news is laying in the presentation of official news in an amusement way. The history of infotainment establishment is related not only to the globalization of television, but also to the change in information space paradigm in general. This genre emerged in the American mediaspace in the 80's of the 20th century and, with the help of the globalization process, gradually expanded its borders therefore it became popular outside the United States. In addition, the infotainment changed its format to the needs of the Ukrainian viewer that gave it the unique features that distinguish this genre not only among other types of news, but also among similar foreign prototypes. Among such features the author distinguish: conversational style of speech, the use of a large number of stylistic trails, the irony of discourse, emotional and expressive presentation of the material, versatility of the video and the free choice of thematic content. Due to these features, the Ukrainian infotainment as neo-genre is gaining popularity among recipients. As a result, it was proved that the infotainment exists on the Ukrainian television and has its own linguistic and stylistic features that require attention not only from journalists, but also by linguists, in particular medialinguists. The bright example of studied programs shows that such a genre enriches not only the content of the television media space, but also the language of the recipients by the innovative lexical units.
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Pite, Rebekah E. "Entertaining Inequalities: Doña Petrona, Juanita Bordoy, and Domestic Work in Mid-Twentieth-Century Argentina." Hispanic American Historical Review 91, no. 1 (February 1, 2011): 97–128. http://dx.doi.org/10.1215/00182168-2010-088.
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Abstract Over the course of the mid-twentieth century Doña Petrona C. de Gandulfo established herself as Argentina’s leading domestic expert. Her popularity reached new heights when she began broadcasting her cooking lessons on television with her assistant, Juanita Bordoy. In this article, Rebekah Pite explores the model of domestic work portrayed by these two women in comparison to that of other Argentine homemakers and their paid help during the 1950s and 1960s. She does so by drawing from a broad source base that includes oral histories, television programming, cookbooks, magazines, and government and legal documents. She finds that Doña Petrona and Juanita Bordoy’s public interactions were both captivating and open to critique because they enabled others to observe a typically private domestic relationship during a period in which many women’s relationships to domesticity and to paid work were in flux. Pite argues that to understand the tensions surrounding these changes, we must shift our framework and our terminology. While scholars of Latin America have tended to cast domestic work relationships as paternalistic, the bonds of power and affection between Doña Petrona and Juanita Bordoy—and countless other domestic pairs—were (and continue to be) more maternalistic in nature. Her research suggests that middle-class or elite women, as opposed to their male partners, have often taken the lead in negotiating the affective terms of these relationships as well as the work to be done.
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McElroy, Ruth. "Mediating home in an age of austerity: The values of British property television." European Journal of Cultural Studies 20, no. 5 (April 29, 2017): 525–42. http://dx.doi.org/10.1177/1367549417701758.
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Lifestyle television provides a dramatic space in popular culture where the values of neoliberalism are articulated, enacted and sometimes contested. The ideological reliance of this consumer-driven form of television on financial markets and economic growth has posed a significant challenge for programme-makers in the post-crisis recessionary era. This article explores the myriad ways in which British property television has responded to the global financial crisis, particularly as it has been framed discursively as a new age of austerity. Austerity is understood here as an ideological formation that mobilises a selective version of 20th-century British history in order to establish continuity of national values of thrift, poverty and collective stoicism that are seen to characterise a cohesive, British response to a crisis that emerges from external forces. The article charts the contradictions that become evident when the financial and ideological system upon which the property TV genre is reliant are being undermined. Although UK consumers’ access to mortgages has been a casualty of the crisis, the aspiration to home-ownership in Britain has survived relatively unscathed. This article illustrates how these contradictions are played out on-screen in diverse iterations of the property TV genre transmitted by British public service broadcasters, including new domestic craft series presented by property gurus. It argues that the genre, as a cultural and industrial artefact, is remarkably adaptable to new economic and ideological circumstances.
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Graf, Friedrich Wilhelm, and Lutz Raphael. "Einleitung Christliche Glaubenswelten im 20. Jahrhundert." Journal of Modern European History 3, no. 2 (September 2005): 140–46. http://dx.doi.org/10.17104/1611-8944_2005_2_140.
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Spheres of Christian Belief in the 20th Century From the current perspective, religion, Christianity and the Church have been gaining greater importance for 20th century European history than had been accorded them for a long time by contemporary historians. The articles in this periodical take up some key themes of the history of religion: A primary dimension addresses interrelations of religion and politics, the state and Christian Churches, political and religious movements; the presence of religion and the Church in the new media of the century, that is, radio, film and television, opens up a second dimension. A third key topic of a history of European religion of the last four decades addresses the interaction of social change with the genesis of new forms of belief and religiosity. Investigating all these subjects as well as numerous other themes requires opening up the methodology of the study of the history of religion to approaches of «religious economics», the precise knowledge of theological approaches to and interpretations of problems and the intensive intellectual exchange with the other disciplines of religious scholarship.
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Mullin, Romano. "‘You Think You Know a Story…’: Reframing the Tudors on Television in the Twenty-First Century." Adaptation 12, no. 2 (April 3, 2018): 89–104. http://dx.doi.org/10.1093/adaptation/apy006.
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AbstractOver the past 10 years, there has been an explosion in the number of television dramas about Tudor England. These programmes have been engaged in a re-visioning of history that prioritizes a heterogeneous approach to the past, adapting historical themes, figures, and events in order to challenge existing conceptions about the nature of history. By using Showtime’s The Tudors (2007–2010) and the BBC’s Wolf Hall 2015 as examples, this paper explores how both series reimagine the Tudor era by destabilising traditional modes of historical engagement and emphasizing the shared narrative lineage of historiography and history as entertainment. Ultimately, the paper argues that these programmes are responding not only to new ways of accessing the past, but also by adapting a period which is central to an Anglocentric cultural identity, they are responding to the crises and political faultlines that have marked the twenty-first century.
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Tasente, Tanase. "The 4 phases of evolution of political communication systems: from the golden age of the parties to the golden age of the users." Technium Social Sciences Journal 2 (January 8, 2020): 76–83. http://dx.doi.org/10.47577/tssj.v2i1.50.
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The political media communication system began to develop, in a first phase, in the first two decades after the Second World War, this period being called by Blumler and Kavanagh (1999) as "the golden age of the parties" or as “the age of the newspapers”. In the 1960s, a new stage in the evolution of political communication systems began, when few national televisions put a monopoly on the media market, becoming the dominant medium in which political communication unfolded. This stage was named "the television era" or "the modern period of electoral campaigns". Two new aspects to the previous period of evolution are due to the diminution of the voters' loyalty and trust towards the political parties and the shift from direct communication to prime-time communication. The third phase of the evolution of political communication systems began to take shape at the end of the 20th century and the beginning of the 21st century and was called the "postmodern period" or "digital era". Major changes in this period of political communication development have occurred both in technology, consumer behavior of voters, and in communication strategies. After 1990, for many other democratic countries and after 2000, for other totalitarian countries, political communication has undergone a strong transformation into its three points: (1) changing the communication channel and its characteristics far different from classical means, (2) related to the content of the message and the political discourse and, perhaps, the most important aspect (3) the public's ability to actively participate in government acts or protest actions challenging government acts.
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Hibbitts, Bernard J. "Changing Our Minds: Legal History Meets the World Wide Web." Law and History Review 17, no. 2 (1999): 385–87. http://dx.doi.org/10.2307/744018.
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Legal historians have had an ambivalent relationship with new technology. As students and spokespersons of the somewhat-stodgy legal past, our sympathies have predictably been with traditional methods of doing things rather than with the latest and greatest devices of our own age. In the twentieth century we have tended to champion writing and books more than radio, television, and computers. Today we may use new tools to help us create our scholarship and even to help us teach, but like most of our academic colleagues in law and in history we generally employ those tools as extensions of established media instead of exploiting their potential to deploy information and develop ideas in new ways.
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Pečiulis, Žygintas. "Realybės stilistika televizijoje: visuomenės transformacijų atspindys." Informacijos mokslai 48 (January 1, 2009): 82–99. http://dx.doi.org/10.15388/im.2009.0.3329.
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Realybės televizijos stilistika demonstravo kintantį televizijos požiūrį į eilinį pilietį. Profesionalą (ekspertą, politiką, menininką) ekrane ėmė keisti paprastas žmogus, liudijantis savo gyvenimo istoriją, buvo deklaruojamas įvairių visuomenės sluoksnių suartėjimas. Žiūrovas tapo televizijos programos bendraautoriumi, visuomenė buvo įtraukiama į aktualių problemų svarstymą, televizija ėmė imituoti valstybės ar visuomeninių institucijų funkcijas. Hibridiniai realybės žanrai pasiūlė faktais pagrįstas istorijas dalyvaujant tikriems herojams. Ėmė nykti ribos tarp dokumentinių ir vaidybinių žanrų. Praėjusio amžiaus pabaigoje paplito naujosios realybės šou žanro variacijos (uždarų erdvių, totalaus sekimo, išmėginimų, išlikimo), atskleidusios kardinalius visuomenės požiūrio į privatumą pokyčius. Atlikdama psichologės, taikytojos, paskutinės instancijos vaidmenis, televizija mėgina kompensuoti ryšio tarp visuomenės narių stoką, megzti nutrūkusį dialogą tarp individų ir grupių. Realybės stilistika šiame straipsnyje nagrinėjama trimis aspektais: dialoginių žanrų kaitos, neformaliojo instituciškumo ir visuomenės pokyčių atspindžio naujuosiuose realybės šou formatuose. Reikšminiai žodžiai: žiniasklaida, audiovizualinė žiniasklaida, televizija, televizijos programų raida, realybės televizijos stilius.Reality Style on Televizion: Reflection of the Public’s TransformationŽygintas Pečiulis SummaryThe stylistics of reality television has demonstrated a changing attitude of television towards an ordinary person. On screen, a professional (expert, politician, artist) started to be replaced by the everyman who was telling his own life story; the approach of different layers of the public was declared. The viewer became a co-author of TV programs, the public was involved in programs that tackled crucial issues, and television started to imitate functions of governmental or public institutions. Hybrid reality genres offered fact-based stories with the participation of real characters. The boundary between documentary and entertainment genres began to vanish. At the end of the past century, there emerged a new variety of reality shows (close space, total imitation, try-out, survival) which revealed cardinal changes of the public’s attitude towards privacy. Through playing its roles of a psychologist, conciliator or that of the last instance, television tries to compensate the lack of relationship among members of the public and to re-establish a broken dialogue between individuals and groups. The stylistics of reality in the present paper is analysed in the light of three aspects: change of dialogue genres, informal institutionalism, and reflection of the public’s changes in new formats of reality shows. Key words: mass media, audio-visual media, television, development of TV programs, style of reality television.
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Reid, Donald. "First as Tragedy, Then as Television Series: Teaching the Presentation of History in A French Village." Teaching History: A Journal of Methods 46, no. 1 (April 29, 2021): 2–9. http://dx.doi.org/10.33043/th.46.1.2-9.
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Americans and Europeans increasingly look to the television drama series for their historical education, whether about Chernobyl or the struggle to pass the Equal Rights Amendment. We have long shown documentaries to students and fact-checked docudramas and dramatic films set in the past, but the television drama series offers new opportunities and challenges. The extended viewing time and the sustained involvement the audience has with a television drama series distinguishes it from documentaries, docudramas, and dramatic films. While there is an extensive literature on the presentation of history in film, much less scholarly analysis exists on the television drama series and how it communicates ideas about the past. The feuilleton quality of episodes and hiatus between them (unless binge-watched on a streaming service) leaves viewers to think through the narrative of the series itself as they wait for the next episode. Edgar Reitz’s Heimat: A Chronicle (1984) presented continuity and change in a twentieth-century German village over several generations, but Frédéric Krivine and his team’s A French Village (2009-2017) has a different ambition: to permit viewers to interpret a particular historical event—the German occupation of France during World War II—in ways they had not before. Can a television series present the complexities of this history and the issues it raises? Can it convey these debates to a large audience? What impact does this form of presentation have on viewers’ understanding of the past? A diverse group of first-year students addresses these questions in a seminar I teach on A French Village. Students learn about the occupation of France during the Second World War, and they study postwar debates about its history and memory. However, the primary goal of the course is to develop students’ abilities to analyze the presentation of history outside of books or documentary films by examining a work in a genre that most of them engage with more often and perhaps more deeply, the television drama series. Students ask when imagination could (or could not) enable an audience to see what happened in the past in revealing new ways.
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Rosenberg, James L. "Situation Hopeless, Not Terminal: the Playwright in the Twenty-First Century." New Theatre Quarterly 4, no. 15 (August 1988): 226–31. http://dx.doi.org/10.1017/s0266464x00002773.
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Playwrights in the West remain under threat not only from the ever-increasing dominance of the director and the loss of autonomy carried over from film and television, but from sheer economic deprivation – which makes playwriting impossible as a full-time profession for most of its members. Is the best way to remedy this the assertion of collective responsibility and power advocated in this country by the Theatre Writers Union, or by a frank acceptance that artistic strength is seldom likely to be matched by economic or ‘political’ power – as James L. Rosenberg now argues? NTQ does not necessarily endorse the viewpoint here expressed, but feels that it is a forceful statement of a ‘new realism’ about the role of the playwright in the likely western future – in this respect also making an illuminating contrast to the foregoing article by Zygmunt Hübner. The author, James L. Rosenberg, is a widely-performed American dramatist, who has also translated numerous plays from the German, and is presently Visiting Professor of Theatre at Williams College. Williamstown, Massachusetts.
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BECKETT, J. V. "COUNTRY HOUSE LIFE Creating paradise: the building of the English country house, 1660–1880. By Richard Wilson and Alan Mackley. London: Hambledon, 2000. Pp. xx+428. ISBN 1-85285-252-6. £25. The polite tourist: four centuries of country house visiting. By Adrian Tinniswood. London: The National Trust, 1998. Pp. 224. ISBN 0 7078 0224 5. £24.99. Country house pastimes. By Oliver Garnett. London: The National Trust, 1998. Pp. 48. ISBN 0-7078-0284-9. £4.99. The British country house in the eighteenth century. By Christopher Christie. Manchester: Manchester University Press, 2000. Pp. xvi+333. ISBN 0-7190-4724-2 (hb); 0-7190-4725-0 (pb). £49 and £17.99. The fate of the English country house. By David Littlejohn. Oxford: Oxford University Press, 1997. Pp. xviii+344. ISBN 0-19-508876-X. £20. The dukes: the origins, ennoblement and history of twenty-six families. By Brian Masters. London: Pimlico, 2001. Pp. x+390. ISBN 0-7126-6724-5. £12.50." Historical Journal 45, no. 1 (March 2002): 235–44. http://dx.doi.org/10.1017/s0018246x0100231x.
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It is nearly a quarter of a century since the publication in 1978 of Mark Girouard's magnificent study, Life in the English country house. The book appeared at what we can now recognize to have been an important moment for the stately homes of England. After the years of post-war austerity, the growth in private car ownership had begun to make the countryside increasingly accessible. Many of the weekend journeys spawned by this new affluence were to country houses, a trend speeded up by the exposure several high profile houses enjoyed as period settings for television dramas. Brideshead revisited in 1981 was the pioneer, set as it was in the grounds of Castle Howard. In many respects it has never been bettered, but it has certainly been followed, to the extent that hardly a great house has failed to attract a film crew and some have been visited repeatedly. Nor has this new exposure been confined to the cinema and television. The private mansions from which the working classes were traditionally excluded have opened their doors to paying customers, and their shops to anyone with cash and credit cards.
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Nie, Sen, and Yan Liu. "Analysis of Application of Digital Media Arts." Advanced Materials Research 989-994 (July 2014): 4223–25. http://dx.doi.org/10.4028/www.scientific.net/amr.989-994.4223.
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In 21st century, with the leaping advances in science and technology, computers and the rapid development of science and technology industry, formed by combining human intelligence and high-tech digital content industry that corresponds to the rapid development, and developing at an astonishing speed into a pillar industry of the knowledge economy in the new century. It is well known that digital media are based on digitized text, sound, images, Graphics, animation and video images as information carriers, through means of dissemination and development of science and technology. Basic characteristics of digital media arts: Cross uses online media which contains computer-animated production, the television advertising shoot, digital music player, there are activities such as online games, virtual reality, network, performance art, video, interactive installations and DV (digital video). This paper discusses the present status of digital media art, features, applications in education, vocational orientation and analysis of the development trend.
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Joseph, Waliya Yohanna. "Contrastive study of the trend of metamorphosis of political activism using theatre in the twentieth and twenty-first century." International Journal of Pedagogy, Innovation and New Technologies 4, no. 1 (June 30, 2017): 80–86. http://dx.doi.org/10.5604/01.3001.0010.4988.
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Ever since antiquities, theatre has been a medium of provoking sentimental reaction and an entertainment of the populace especially the elite. Authors of this genre do present active noble characters in their works making as if it is real. We do learn in Greco-Roman Empire how amphitheatre hosted Caesars, their officials and empiric subjects watching the gladiators and the persecuted Christians in the medieval era. Fifty years of cinema and the television as well as the new media have changed the mind-set of the global community towards life in general to form a unique interconnected universal cultural chains. In this research, we would like to use political activism theories called pluralist theories of Norris Pippa as critical lens to analyse the trend of political activism in the modern theatre of the early 21st century in comparison to that of the 20th century which led to violent revolutionary movements.