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SAMPIETRO, SARA. "Teen Television: televisione crossmediale e adolescenti in Italia." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1529.
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Obiettivo della ricerca presentata in questa tesi è la comprensione delle pratiche televisive convergenti degli adolescenti, a partire da una ricostruzione dei fattori che possono orientare i differenti atteggiamenti fruitivi. Al di là dell’adesione al mito dei “nativi digitali” come soggetti dotati di competenze e abilità superiori a quelle dei loro genitori appare infatti necessario studiare le esperienze crossplatform, contestualizzandole all’interno del set di opportunità e di vincoli, culturali, sociali e contestuali che strutturano la quotidianità dei ragazzi.
L’importanza data ai molteplici fattori che, a diverso titolo, interagiscono nel modellare i consumi convergenti ha guidato l’intero processo di analisi dei risultati fin verso la definizione di uno sguardo interpretativo situazionale e multifattoriale, volto a interpretare la natura contingente e provvisoria degli equilibri su cui si reggono le differenti esperienze di consumo crossmediale.
I dati descritti e analizzati sono frutto di un processo di ricerca etnografica che ha coinvolto adolescenti iscritti ai primi quattro anni della scuola secondaria di secondo grado e residenti in diverse province italiane.The research presented in this thesis explores convergent television-related consumer practices of teenagers by mapping factors which potentially orient fruition patterns. The myth of “digital natives” as more skilled and resourceful than their parents does not suffice: it is necessary to study actual cross-platform experiences by contextualizing them within the sets of affordances and limitations (cultural, social and contextual) which structure the daily lives of teenagers. The centrality assigned to the many factors shaping convergent consumptions has driven the analysis towards the definition of a situational multi-factor interpretative view able to interpret the contingent and ephemeral nature of the balances underpinning convergent consumption experiences.
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SAMPIETRO, SARA. "Teen Television: televisione crossmediale e adolescenti in Italia." Doctoral thesis, Università Cattolica del Sacro Cuore, 2012. http://hdl.handle.net/10280/1529.
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Obiettivo della ricerca presentata in questa tesi è la comprensione delle pratiche televisive convergenti degli adolescenti, a partire da una ricostruzione dei fattori che possono orientare i differenti atteggiamenti fruitivi. Al di là dell’adesione al mito dei “nativi digitali” come soggetti dotati di competenze e abilità superiori a quelle dei loro genitori appare infatti necessario studiare le esperienze crossplatform, contestualizzandole all’interno del set di opportunità e di vincoli, culturali, sociali e contestuali che strutturano la quotidianità dei ragazzi.
L’importanza data ai molteplici fattori che, a diverso titolo, interagiscono nel modellare i consumi convergenti ha guidato l’intero processo di analisi dei risultati fin verso la definizione di uno sguardo interpretativo situazionale e multifattoriale, volto a interpretare la natura contingente e provvisoria degli equilibri su cui si reggono le differenti esperienze di consumo crossmediale.
I dati descritti e analizzati sono frutto di un processo di ricerca etnografica che ha coinvolto adolescenti iscritti ai primi quattro anni della scuola secondaria di secondo grado e residenti in diverse province italiane.The research presented in this thesis explores convergent television-related consumer practices of teenagers by mapping factors which potentially orient fruition patterns. The myth of “digital natives” as more skilled and resourceful than their parents does not suffice: it is necessary to study actual cross-platform experiences by contextualizing them within the sets of affordances and limitations (cultural, social and contextual) which structure the daily lives of teenagers. The centrality assigned to the many factors shaping convergent consumptions has driven the analysis towards the definition of a situational multi-factor interpretative view able to interpret the contingent and ephemeral nature of the balances underpinning convergent consumption experiences.
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Terzic, Marilyn. "Understanding television: the art and science of aesthetic response." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104508.
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This dissertation examines the processes of perception and cognition and demonstrates their application to the creation of aesthetically and artistically significant television content. By reexamining past understandings and assumptions, the ways in which artists and media producers have manipulated the information search and processing faculties of their audiences, and thus guided the meanings they ascribed to still and moving images, are explored. To reflect the multidisciplinary nature of television aesthetics, this research is not limited to a particular academic discipline. Instead, it draws on several streams of research and scholarship (media studies, marketing, psychology, neuroscience, and the fine arts) to bridge the gap between scientific theory and artistic practice and, in turn, develop effective guidelines for the construction of audiovisual materials that fulfill all three functions of the arts: the intensification, clarification, and interpretation of experience.Cette thèse étudie les processus de perception et de cognition et démontre leurs applications à la création de contenu télévisuel ayant une valeur artistique et esthétique. En réexaminant les connaissances et hypothèses antérieures, les façons dont les artistes et les producteurs de médias ont manipulé les facultés de traitement des informations de leurs auditoires, et donc la signification qu'ils attribuaient à des images fixes et animées, sont explorées. Pour refléter la nature multidisciplinaire de l'esthétique de la télévision, cette recherche ne se limite pas à une discipline académique particulière. Au lieu de cela, elle s'appuie sur divers courants de recherche et domaines d'érudition (études sur les médias, le marketing, la psychologie, les neurosciences, et les beaux-arts) pour combler le fossé entre la théorie scientifique et la pratique artistique, afin de formuler des recommandations visant à la création de matériel audiovisuel qui remplit les trois fonctions de l'art: l'intensification, la clarification, et l'interprétation de l'expérience.
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Cardinaletti, Michelangelo. "Ugo Gregoretti, autore e regista televisione : television, cinema, opera lirica e teatro." Electronic Thesis or Diss., Nantes Université, 2023. http://www.theses.fr/2023NANU2029.
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La thèse de doctorat représente une enquête approfondie et complète sur la carrière vaste et diversifiée d'Ugo Gregoretti dans les domaines de la télévision, du cinéma, de l'opéra et du théâtre. À travers une approche biographique et une utilisation extensive des sources du Centre d'études Ugo Gregoretti à Pontelandolfo, cette recherche met en lumière la vie et les œuvres d'un artiste éclectique dont la signification a largement été négligée. Les résultats de l'analyse révèlent un profil artistique d'une grande polyvalence, caractérisé par une profonde sensibilité à l'ironie et une inclination marquée à exprimer sa vision artistique à travers divers médias. Gregoretti se présente comme un auteur d'une grande versatilité, capable de couvrir différents genres et modes d'expression tout en maintenant une originalité cohérente dans chacune de ses œuvres. Un aspect fondamental de la recherche est l'absence d'études approfondies dédiées à Gregoretti, malgré son impact significatif sur le paysage artistique et culturel italien. Cette thèse comble cette lacune en fournissant une analyse complète de sa carrière et de sa contribution au développement de l'art et du divertissement en Italie. Ainsi, la recherche dévoile non seulement une figure négligée, mais elle jette également une nouvelle lumière sur les dynamiques culturelles et artistiques du pays, enrichissant la compréhension globale de son évolutionThe doctoral thesis represents an in- depth and comprehensive investigation into Ugo Gregoretti's extensive and diverse career in the fields of television, film, opera, and theater. Through a biographical approach and extensive use of sources from the Ugo Gregoretti Study Center in Pontelandolfo, this research sheds light on the life and works of an eclectic artist whose significance has been largely overlooked. The findings of the analysis reveal an artistically multifaceted profile, characterized by a deep sensitivity to irony and a marked inclination to express his artistic vision through a variety of media. Gregoretti emerges as an author with extraordinary versatility, capable of spanning different genres and modes of expression while maintaining consistent originality in each of his works. A fundamental aspect of the research is the absence of in-depth studies dedicated to Gregoretti, despite his significant impact on the Italian artistic and cultural landscape. This thesis fills this gap, providing a comprehensive analysis of his career and his contribution to the development of art and entertainment in Italy. In this way, the research not only unveils a neglected figure but also sheds new light on the cultural and artistic dynamics of the country, enriching the overall understanding of its evolution
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Krohn, Erik Allyn Varadarajan Kasturi. "Surveilling roads and protecting art." [Iowa City, Iowa] : University of Iowa, 2009. http://ir.uiowa.edu/etd/390.
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Hutchins, Christine Elizabeth. "Contextual Analysis of Meaning Through Adolescent Viewing of Music Television." The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392908720.
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Tung, Yu-Ting. "Nodame Cantabile: A Japanese Television Drama and its Promotion of Western Art Music in Asia." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1229915111.
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PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.
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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960).
Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.
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PENATI, CECILIA. "Il focolare elettronico. Una storia culturale dell'ingresso della televisione nello spazio domestico (1954-1960)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1100.
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Obiettivo della tesi è stato quello di ricostruire una storia culturale della televisione italiana delle origini, concentrandosi sui percorsi attraverso i quali il medium è diventato parte integrante delle routine quotidiane del suo primo pubblico, cercando di dare senso a come la prima audience del piccolo schermo abbia sperimentato l’arrivo della televisione nello spazio della casa, nel corso degli anni di istituzionalizzazione del medium in Italia (1954-1960).
Dopo una ricognizione della letteratura scientifica sul tema della domestication dei mezzi di comunicazione, della biografia culturale degli oggetti tecnici e dell’analisi storica delle “culture di visione” della tv, la seconda sezione della tesi prende in esame come il sistema dei media popolari (il discorso pubblicitario, il dibattito pubblico sulla stampa popolare, i paratesti aziendali della Rai) abbia attribuito significati alla televisione, "insegnando" al suo primo pubblico come collocarla nello spazio della casa. La terza sezione della tesi è dedicata a una ricostruzione storica del primo consumo televisivo domestico, svolta attraverso una ricerca etnografica condotta con venti interviste a testimoni che hanno vissuto in prima persona la prima diffusione dei ricevitori e la loro prima collocazione nello spazio della casa.This dissertation is aimed to outline a cultural history of early Italian television, focusing on the pattern by which TV became part of its first audience’s daily routines, and trying to give sense of how the first public of the small screen experienced the arrival of the television in the space of their homes, in the years of institutionalisation of the new medium (1954-1960). After an overview of the scientific literature that has dealt with the topic of “media domestication”, cultural biography of technical objects, and historical analysis of television’s culture of viewing, the second section of the thesis examines how the system of popular media (mainly advertising, popular press, and broadcaster’s house organs) ascribed meanings to television as a domestic medium and advised its public how to use it. A third section of the dissertation is devoted to understanding the television viewing and consumption in historical perspective, through a ethnographic research developed with twenty in-depth interviews to witnesses that participated directly in the first diffusion and domestication of the TV sets in Italy.
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Spampinato, Francesco. "Art Contemporain et télévision : formes de résistance, appropriation et parodie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA056.
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La présente thèse cartographie et condense l'histoire des relations entre l'art et la télévision au cours du demi-siècle environ durant lequel la télévision maintint sa position de média de masse par excellence dans la société, des années 1950 au tournant du millénaire, jusqu'à la phase de vaporisation des médias récemment apportée par la profusion des technologies numériques et d'Internet. La centaine d'artistes étudiés appartient à différentes générations, des pionniers des années 1960 tels que Nam June Paik, Andy Warhol et divers collectifs de la guerilla television aux figures postmodernistes telles que Dara Birnbaum et General Idea, des artistes issus des années 1990 comme Phil Collins, Christian Jankowski et Matthieu Laurette aux figures émergées au XXIe siècle comme Keren Cytter, Hito Steyerl, Ryan Trecartin et les Yes Men.Les travaux abordés sont des vidéos, installations, performances, interventions et programmes télévisés conçus comme des formes de résistance, d'appropriation et de parodie de la télévision grand public, qui exposent les mécanismes par lesquels le média de masse influence notre perception de la réalité et de nous-mêmes. Les genres et les formats télévisuels les plus populaires sont ciblés : les informations, publicités, soap operas, talk-shows, émissions pour enfants, vidéoclips, téléréalité, divertissements éducatifs et séries télévisées. En permettant de « voir à distance », la télévision produit chez le spectateur un sentiment étrange de déplacement physique. Les travaux étudiés mettent en évidence et tentent de surmonter cette séparation entre les corps factuels et télévisés, qui est aussi une séparation entre réalité et représentationThe present study maps and condenses the history of the relationships between art and television during the rough half century in which television maintained its position as society’s quintessential mass medium, from the 1950s to the turn of the millennium, through to the phase of vaporization of media recently brought by the profusion of digital technologies and the Internet. The close to one hundred artists discussed belong to different generations, from 1960s pioneers such as Nam June Paik, Andy Warhol and various guerrilla television collectives to postmodernist figures such as Dara Birnbaum and General Idea, from artists emerged in the 1990s such as Phil Collins, Christian Jankowski, and Matthieu Laurette up to figures emerged in in this early XXI century such as Keren Cytter, Hito Steyerl, Ryan Trecartin, and the Yes Men.The works discussed are videos, installations, performances, interventions and television programs conceived as forms of resistance, appropriation and parody of mainstream television, that expose the mechanisms through which the mass medium influences our perception of both reality and ourselves. To be targeted are the most popular television genres and formats including news, commercials, soap operas, talk shows, children's programs, music videos, reality shows, edutainment, and TV series. By allowing to “see at distance,” television produces in the viewer an uncanny feeling of physical displacement. What the works discussed highlight and try to overcome, is that split between factual and televised bodies, that is also a split between reality and representation
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Nadeau, James A. (James Andrew). "The medium is the medium : the convergence of video, art and television at WGBH (1969)." Thesis, Massachusetts Institute of Technology, 2006. http://hdl.handle.net/1721.1/39146.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2006.Leaf 77 blank.
Includes bibliographical references (leaves 74-76).
On March 23rd 1969 Boston's public television station WGBH broadcast a program titled The Medium is the Medium. The program was a half-hour long compilation of short videos by six artists. The six pieces ranged from electronically manipulated imagery set to the music of the Beatles to an attempt at communication between four separate locations through audio-visual technology. As the narrator, David Oppenheim, the cultural executive producer for the Public Television Laboratory, intones at the beginning of the show, "what happens when artists explore television?" What happened was a program unlike anything seen before. The Medium is the Medium was the result of the pairing of artists with engineers. This pairing was the brainchild of the Rockefeller Foundation, which decided to bring these two together in what was the Artists-in-Television program. Founded in 1967 it gave seed grants to two public broadcasting stations, WGBH in Boston and KQED in San Francisco. These grants enabled the stations to begin residency programs matching artists with members of their production staffs. Several of the artists in the program had made films but most were coming to this type of time-based art work for the first time. The Artists-in Television program gave these artists the opportunity to expand their ideas into an art from involving television technologies. It offered those working in more traditional media the technology and expertise to try their hands at a nascent art form, video.
by James A. Nadeau.
S.M.
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Perry, Colin. "Into the mainstream : independent film and video counterpublics and television in Britain, 1974-1990." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/11999/.
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This thesis looks at independent film and video cultures in Britain from the mid 1970s to late 1980s. It examines a period of time in which diverse radical film- and video-makers in Britain contributed towards struggles against capitalism, patriarchy, racism, colonialism and homophobia. New social models of film and video production and exhibition were developed, such as the film collective, and new alliances were built to campaign for changes to social policy and legislature. The study examines this moment in order to clarify the capacity for radical discourse to bring groups together and impact on dominant cultural forms such as television. The thesis explores the interrelation between public debate, institutions and individuals. It uses public sphere theories to examine alternative reading publics, and media such as film, video and television. It argues that independent film and video in Britain at this time, including activist documentary, currents of counter-cinema and avant-garde film, was largely concerned with creating and circulating counterpublic discourses. These counterpublic discourses consolidated and expanded oppositional groups, and set out to change aspects of society as a whole. The thesis gives an account of the diversity of the influences on independent film and video, from socialist and liberation movements, to popular radical histories and psychoanalytic and Marxist film theory. Attention is given to the Independent Filmmakers’ Association as an agent of change between filmmakers and state, notably in terms of national film and broadcasting policy. There is a case study of Marc Karlin’s television film For Memory (1986), which looks at the fate of socialist memory under televisual regimes; and a case study of Stuart Marshall’s Bright Eyes (1984), which looks at issues of sexuality, identity and counter-history during the AIDS crisis. The thesis argues that during this period, independent film- and videomakers helped to transform television into a vital site of counterpublic discourse.
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Fossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.
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The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates.
In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.
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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.
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Tipping, Roy. "The history and practice of the presentation of art music performance on BBC television, 1936-1982." Thesis, De Montfort University, 2002. http://hdl.handle.net/2086/4314.
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This thesis traces the history of the presentation of art music performance on BBC television including concerts, operas and ballets and analyses the ways found to present them. The background to the initial programming policies on BBC Television is analysed with reference to the art music activities on BBC Radio before 1936. The novel methods of televising art music are described: there were no precedents for live multi-camera shooting. Until the creation of commercial television in 1955, BBC Television broadcast about two hours of art music performance each week. From 1955 to 1963 the output of art music performance halved and the influence of Lionel Salter, Head of Music Productions, BBC Television, is traced. The creation of BBC-2 led to a revival in art music programmes and the contribution of Humphrey Burton, Head of Music and Arts, BBC Television, to restoring the amount of art music performance is considered. Early scripts and archived programmes have enabled critical evaluation to be undertaken. This analysis has shown that the first producers of art music programmes regarded their main function as giving viewers the feeling that they were watching performances from the 'best seat in the house': the concept of the objective 'relay'. As musically trained producers emerged, there was a gradual change from the relay to that of involving the viewers as unseen participants in the performances. It is shown that art music performance programmes became the subjective interpretations of the producers involved. Salter said that only musically trained producers who could fluently read music would be capable of fully communicating its structure in television programmes. The truth behind this maxim is fully investigated and the conclusion drawn is that successful presentation of art music performance on television is easier for musically trained producers but a few others without musical qualifications have shown themselves capable of producing equally satisfactory and authoritative programmes.
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Harkin, Patrick. "Prime, Perform, Recover." VCU Scholars Compass, 2017. https://scholarscompass.vcu.edu/etd/5276.
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This thesis examines the formal and conceptual framework of my artistic practice as it culminated in the installation of my thesis exhibition, Prime, Perform, Recover. My exhibition seeks to operate as an analysis and critique of the separation inherent in media presentation and rhetoric surrounding natural disasters.
I utilize the aesthetics and vocabulary of disaster capitalism and prepping culture in order to pose direct questions about ecological and social change. I examine the role of images within mass media image production as an all encompassing Now-Time. In this paper I describe frameworks that my practice proposes as potential solutions to these problems, and I position my research in the context of artists and artworks that have influenced me and operate within similar channels as my own.
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Paton, Garth. "An exploration of the construction of a relationship between video (videographer) and live performance (theatre-maker/performer) and how the two art forms may inform each other." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/10764.
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Includes bibliographical references (leaves 29-31).It is my intention to use video in a theatre setting to make visible what is not, to provide alternate views of reality and live action, and to create a heightened awareness of the medium through its use in an unconventional setting and in ways different to those that we are familiar with. It is my hope that through careful negotiation with the theatre-maker/choreographer, its use with live action will have an enhancing effect, perhaps leading to a more visceral theatre. The theory best serving to assist my attempts in terms of placing them into the academic continuum of other such endeavours and practitioners, is postmodern. Although the use of film and video in performance settings has become more general in the past three decades due to the accessibility of equipment, its use dates back to the beginning of film. This use has always been contentious, where it was often felt that the combining of a 'low' art, such as film was seen to be, with theatre, would have a diminishing effect on the latter.
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Daiello, Vittoria S. "The “I” of the Text: A Psychoanalytic Theory Perspective on Students’ Television Criticism Writing, Subjectivity, and Critical Consciousness in Visual Culture Art Education." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1293716652.
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MARI, CHIARA. "ARTISTI E RAI 1968 - 1975. LA TELEVISIONE PUBBLICA ITALIANA COME SPAZIO D'INTERVENTO ARTISTICO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6145.
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La tesi analizza le collaborazioni di alcuni protagonisti della ricerca artistica contemporanea con la Rai tra gli anni Sessanta e Settanta. Dopo un capitolo introduttivo che ripercorre nelle sue linee principali le origini del dibattito critico italiano intorno al tema dei rapporti fra artisti e televisione, lo studio si concentra sul periodo 1968-1975, quando da un lato la Rai si apre maggiormente all’attualità artistica, dall’altro gli sviluppi dell’arte in direzione ambientale e performativa e le prime sperimentazioni video creano le premesse per interventi negli spazi della televisione pubblica. Il dialogo aperto da queste collaborazioni è particolarmente significativo perché rovescia la prospettiva con cui la Rai ha prevalentemente guardato l’arte contemporanea. La ricerca artistica si insinua nella programmazione ordinaria, oltre i confini del programma specialistico sull’arte, innescando riflessioni che vanno sempre al di là di un contributo “decorativo”, scenografico, educativo o divulgativo. Gli interventi artistici pensati per gli schermi Rai sono specchio di un contesto culturale assai più ampio e la loro analisi permette uno sguardo trasversale sul panorama artistico a cavallo dei due decenni, aprendo direzioni di riflessione nelle storie dell’arte più note di quegli anni e nella storia della televisione culturale italiana.This thesis investigates the collaboration between leading figures of contemporary art and Italian public broadcaster Rai in the 1960s and 1970s. The opening chapter provides an overview of the early debates in Italian art criticism on the relationship between artists and television. The study then focuses on the period 1968-1975. On the one hand, Rai was increasingly opening up to contemporary art during this time; on the other, the emergence of environment and performance art and the early experimentations with video were creating the conditions for artists to work in the space of public television. The exchanges arising from these collaborations are particularly significant because they reverse Rai’s prevalent approach to contemporary art. By going beyond specialist cultural programming and creeping into ordinary programmes, art makes a contribution which always transcends a merely ‘decorative’, scenographic or educational purpose. Artists’ work for Rai reflects a much wider cultural context, and its analysis offers a broad view of the art scene at the turn of the decades, providing new directions for exploration of the more well-known art histories of those years and of the history of cultural television programming in Italy.
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MARI, CHIARA. "ARTISTI E RAI 1968 - 1975. LA TELEVISIONE PUBBLICA ITALIANA COME SPAZIO D'INTERVENTO ARTISTICO." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6145.
Full textAbstract:
La tesi analizza le collaborazioni di alcuni protagonisti della ricerca artistica contemporanea con la Rai tra gli anni Sessanta e Settanta. Dopo un capitolo introduttivo che ripercorre nelle sue linee principali le origini del dibattito critico italiano intorno al tema dei rapporti fra artisti e televisione, lo studio si concentra sul periodo 1968-1975, quando da un lato la Rai si apre maggiormente all’attualità artistica, dall’altro gli sviluppi dell’arte in direzione ambientale e performativa e le prime sperimentazioni video creano le premesse per interventi negli spazi della televisione pubblica. Il dialogo aperto da queste collaborazioni è particolarmente significativo perché rovescia la prospettiva con cui la Rai ha prevalentemente guardato l’arte contemporanea. La ricerca artistica si insinua nella programmazione ordinaria, oltre i confini del programma specialistico sull’arte, innescando riflessioni che vanno sempre al di là di un contributo “decorativo”, scenografico, educativo o divulgativo. Gli interventi artistici pensati per gli schermi Rai sono specchio di un contesto culturale assai più ampio e la loro analisi permette uno sguardo trasversale sul panorama artistico a cavallo dei due decenni, aprendo direzioni di riflessione nelle storie dell’arte più note di quegli anni e nella storia della televisione culturale italiana.This thesis investigates the collaboration between leading figures of contemporary art and Italian public broadcaster Rai in the 1960s and 1970s. The opening chapter provides an overview of the early debates in Italian art criticism on the relationship between artists and television. The study then focuses on the period 1968-1975. On the one hand, Rai was increasingly opening up to contemporary art during this time; on the other, the emergence of environment and performance art and the early experimentations with video were creating the conditions for artists to work in the space of public television. The exchanges arising from these collaborations are particularly significant because they reverse Rai’s prevalent approach to contemporary art. By going beyond specialist cultural programming and creeping into ordinary programmes, art makes a contribution which always transcends a merely ‘decorative’, scenographic or educational purpose. Artists’ work for Rai reflects a much wider cultural context, and its analysis offers a broad view of the art scene at the turn of the decades, providing new directions for exploration of the more well-known art histories of those years and of the history of cultural television programming in Italy.
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Torres, Carla Simone Doyle. "Por uma estética televisiva : um olhar sobre a reflexividade em programas brasileiros." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/142330.
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O estudo sobre a televisão – herdeira de mídias como o rádio e o cinema – não dispõe do mesmo respaldo científico de seus antecessores. Grupos de trabalho mais específicos no Brasil, a exemplo de OBITEL, passaram a ser mais frequentes a partir dos anos 2000. Estudos voltados às questões de estilo e estética do meio são ainda mais raros. Esta tese propõe uma entrada para a discussão estética pelo viés da metatevê, com o objetivo geral de traçar uma configuração para a estética da reflexividade em meio a programas de TV brasileiros, analisando as possibilidades de instauração da promessa de um gênero televisivo que ainda careça de delineação. A reflexividade é teorizada a propósito da metatevê e conceituada como um processo de irradiação desde o campo das artes. Sua conformação televisiva é verificada sobre um conjunto de programas brasileiros desde os anos 1980 até a primeira década dos anos 2000. Após uma análise prévia, de acordo com as categorias Métiers e Técnicas, Atualidades e bastidores e Promoção de programas e de canais (SPIES, 2004), é definido o corpus formado pelos programas Cena Aberta (Rede Globo, 2003), Profissão Repórter (Rede Globo, desde 2006) e No Estranho Planeta dos Seres Audiovisuais (NEPSA) (TV Futura, 2008-2009). Nesta perspectiva, trabalha-se com a possibilidade de que o estudo venha a dar corpo à ideia de Nathalie Burtin (1998) de que a Metatevê seria fundadora de um gênero televisual, bem como realizar a possibilidade de uma promessa estética, que fora debatida por Virginie Spies (2004). Em tal verificação, é feita uma análise pautada pelos fatores de ativação de estilo: Intermidialidade (CALDWELL, 1995) Plasticidade, Morfologia, Modos de Apresentação e Sons, inspirado em Elizabeth Bastos Duarte (2004). As análises mostram que há arranjos entre as possibilidades oferecidas por uma estética que já herda grande variedade de características da linguagem audiovisual partilhada com o cinema, e que ainda mantém grande dependência do suporte verbal da linguagem, o que marca a persistente influência do rádio no meio televisivo. Esse conjunto que define sua audiovisualidade (ROCHA et al, 2013) confere à televisão uma maneira peculiar para que a promessa reflexiva seja contemplada.The study about television – heir of Medias like radio and cinema – doesn’t share the same scientific support with its predecessors. Specific TV work groups in Brazil, with Obitel as an example, became more frequent since 2000’s. This media style and aesthetic aimed studies are even rarer. This thesis suggests a starting point to the aesthetic discussion through metaTV, with the prime objective of stablishing an outline to the reflexivity aesthetic within Brazilian TV shows, verifying the possibility to set up a promise of a television genre that still needs to be defined. The reflexivity is, here, theorized from metaTV and conceptualized as an art field irradiating process. Its television form is verified upon a group of Brazilian shows, since 1980’s until 2000’s first decade. From a previous analysis, according to Metiérs and Techniques, Updates and Backstage and Program and Channel Promotion (SPIES, 2004), the corpus of this thesis is defined and constituted by Cena Aberta (REDE GLOBO, 2003), Profissão Repórter (REDE GLOBO, 2006) e No Estranho Planeta dos Seres Audiovisuais (TV FUTURA, 2008 – 2009). From this perspective, work with the possibility that the study will embody Natalie Burtin (1998) idea that metaTV would be the foundress of a television genre, as well as fulfill the aesthetic promise, argued by Virginie Spies (2004). In such verification, an analysis has been made, guided by style activation factors, like: Intermediality (CALDWELL, 1995), Plasticity, Morphology, Presentation Modes and Sounds, inspired by Elizabeth Bastos Duarte (2004). These analysis shows us that there are some arrangements among the possibilities offered by an aesthetic that inherits a big variety of audio-visual language characteristics shared with cinema that still maintain a great verbal language support boundage, wich points the persistent radio influence on television. This ensemble defines its audiovisuality (ROCHA et al, 2013) gives to television a peculiar way that reflexive promise can be accomplished.
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Rynell, Åhlén David. "Samtida konst på bästa sändningstid : Konst i svensk television 1956–1969." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-128838.
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This dissertation investigates the mediation of art on Swedish television during the 1950s and 1960s. The aim is to examine how the new medium of television was put to use in the dissemination and promotion of contemporary and modernist art during this time. The primary research question concerns the significance and consequences of television as a media form for the practices of art popularization and art education. The introduction of the new medium coincided with the post-war emergence of the welfare state and ambitions of governmental and non-governmental organizations and initiatives to make modern art an integral part of modern society. This dissertation investigates the role and significance of television in these endeavours from the point of view of Sveriges Radio/TV, by focusing on the actors involved as well as the form and content of arts programming at the time. The study makes use of mediatization theory and the concept of remediation, in order to capture and analyse the dynamics as well as the conflicts between television and art at the time. The study uses the method of media-specific genre analysis, inspired by cultural theory, asserting that arts programming is a cultural category made up of practices and processes and interwoven with ideological structures and power relationships. The dissertation is divided into three chapters investigating different aspects of the phenomenon of art on TV during the specific historical period. The dissertation shows how the 1950s and 1960s witnessed great hopes for television as a way of disseminating art and educating the public on matters of art, aspirations closely connected to notions of art distribution as a way to achieve cultural democratization. First and foremost, however, the close study of the practices of arts programming shows how the relationship between television and art at the time was also characterized by problems and conflict. Using the terminology of mediatization theory, it is possible to speak of conflicts between distinct logics. These conflicts can further be understood on several levels, adhering to the twin logics of remediation: transparent immediacy and hypermediacy. The actors involved all shared a view of television as the great medium of the future when it came to disseminating and promoting art to the wider public. However, they also shared notions of television’s limitations when it came to the matter of ”doing justice” to a work of art when broadcast. This was first and foremost considered to be purely a matter of technical limitations, such as the lack of colour and the small screen size. It is however also evident that the actors’ view of their task and that of the medium with regard to arts programming, to represent works of art to the viewers as honestly as possible, delimited the form and content of shows and programming. On another level, the conflict between art and television was a matter of art’s supposedly critical and societal value. According to the actors, art was considered something other than regular programming, in the sense that art constituted different ways of seeing and perceiving the world. The function and importance of arts programming, then, was considered to be in the ways it differed from regular programming, making possible to educate the TV-viewing public in critical thinking towards the manipulation of media as well as providing ways of developing the form and aesthetics of the television medium.
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Ren, Zhi Jie. "Exploring the art of persuasion :an analysis of the appeal methods used in television advertising for children's food and beverage." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2569234.
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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.
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Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo.
Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione?
Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
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PRATI, ELENA. "Serie tv Made in Russia. Percorsi produttivi di original e scripted format nell'economia televisiva della Federazione." Doctoral thesis, Università Cattolica del Sacro Cuore, 2021. http://hdl.handle.net/10280/97591.
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Negli ultimi dieci anni la Federazione Russa si è lanciata nel mercato globale della produzione di contenuti televisivi, migliorando la qualità dei propri prodotti e distinguendosi per i generi e le storie raccontate. Studiarne il sistema televisivo contemporaneo, con la peculiarità dei remake “made in Russia”, permette di comprenderne il funzionamento e l’evoluzione passata e futura, in un’ottica di economia globale. Capire come e perché sui palinsesti nazionali circolano ancora oggi prodotti che sono una copia di serie televisive originali occidentali (ben lontani dal concetto di scripted format) è alla base dell’analisi del sistema televisivo economico e produttivo.
Questi remake sono presenti fin dai primi anni Duemila e, seppur con lievi differenze, sono tuttora presenti, prodotti e trasmessi, nonostante la loro versione originale sia comodamente fruibile sia attraverso la televisione lineare, sia attraverso le piattaforme OTT. Per quale motivo, quindi, non risultano ridondanti? Per quale motivo il pubblico russo ne sente la necessità? Esistono degli iter produttivi standardizzati che ne facilitino la produzione e la categorizzazione?
Queste le domande alla base dello studio dei percorsi produttivi che le serie televisive occidentali intraprendono una volta che valicano i confini della Federazione Russa, in un meccanismo che rappresenta un unicum nel sistema televisivo economico globale.In the last ten years Russian Federation has entered the global market of tv-content production, improving the quality of its products and standing out for the genres and stories told. Studying its contemporary television system, with the peculiarity of its remakes “made in Russia”, helps us understanding its functioning and evolution (past and future), in a global economy perspective. Understanding how and why on national show schedules still circulate products that are a copy of Western original television series (distant from the concept of ‘scripted format’) represents the basis of the analysis of the economic and productive system. These remakes are already present at the beginning of the new Millennium and, even if with slight differences, are still present and broadcast, nevertheless their original version can be found and watched both through DTT television and OTT platforms. From what reason, then, aren’t they redundant? Why Russian audience needs them? Are there any standardized productive paths that simplify their production and organization? These are the questions at the foundation of the study of productive paths that Western television series take once they cross Russian Federation borders, in a mechanism that represents an unprecedented example in the global economic television system.
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Mun, Dal-Ju. "Quelle stratégie créative pour une publicité télévisée pan-européenne ?" Paris 8, 1999. http://www.theses.fr/2000PA081659.
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Nous avons analyse les multiples aspects des publicites televisees europeennes et paneuropeennes pour reveler les caracteristiques de publicite televisee nationale europeenne et de la publicite televisee pan-europeenne d'une part, d'autre part pour valider des styles creatifs veritablement pan-europeens. Apres avoir analyse environ 600 spots televises, nous avons obtenu les conclusions suivantes :l'humour est le type dominant dans la strategie de l'execution creative de la publicite nationale europeenne et pan-europeenne. La publicite pan-europeenne est beaucoup plus axee sur les effets visuels que la publicite nationale. L'emotion est plus important que l'information dans les publicites nationales europeennes et surtout pan-europeennes. La musique est plus importante dans les publicites pan-europeennes que dans les publicites nationales europeennes. La creativite europeenne est egalement caracterisee par la reduction des dialogues ou par les publicites non-verbales. A travers ces resultats, nous avons constate qu'il existe les differences claires entre la creation publicitaire au niveau national europeen et au niveau pan-europeen. Les tendances actuelles de la strategie creative des publicites televisees pan-europeennes sont : l'humour forte, << l'emotion forte >>, le << visuel fort >> et l'importance de la musique.
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Deiner, Catherine Anne. ""Soap operas as a platform for disseminating health information regarding ART and the use of 'reel' versus 'real' role models"." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1017783.
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The media, through development communication and edutainment, plays a critical role in the transformation of societies. In line with this, this thesis discusses the extent to which commercially driven prosocial soap operas can provide a platform for public health messaging, in the context of the HIV/AIDS epidemic in South Africa, for antiretroviral treatment (ART) and for encouraging ART adherence to foster national development. Furthermore, this thesis examined the potential of celebrities as HIV/AIDS ambassadors and the potential of both fictional characters and ‘real-life’ celebrities to disseminate these health messages. Although the HIV/AIDS epidemic in South Africa is stabilising, this is not the time to relax the communication around the disease, particularly regarding adherence to ARVs, considering that South Africa has the largest ARV rollout in the world. The qualitative methodological approach taken for this thesis is a three-step approach examining the intended message, the text and the appropriated message by viewers. Firstly, a thematic content analysis of an episode of Isidingo, that illustrated Nandipha as HIV-positive and the side-effects that came with her ART adherence, and the 3Talk interview with Lesego Motsepe, where she announced that she was weaning herself off ART, was done in order to understand the intended health messaging in the soap opera and the health message disseminated by an HIV-positive actress with regards to ART. Thereafter interview responses by the production team as well as by HIV-positive viewers, using ARVs, were thematised. In addition media texts which provided commentary on the use of a celebrity as a HIV-positive role model were examined. In doing this, this thesis has offered up the meanings of how HIV-positive women taking ARVs and living in Makana experience and understand the media, particularly health messaging relating to ARVs. The findings of this study suggest that commercial soap operas are the perfect platform to address HIV/AIDS and that prosocial health messaging regarding ARV adherence is still necessary in this country. Soap operas have the potential to have an educational angle. Although, HIV-positive individuals serve as better role models as they are authentic; given human nature, fictional characters, such as Nandipha Matabane in Isidingo, may be more sustainable role models as their message can be scientifically-based and well-researched. Realistic characters serve as role models whose behaviour is to be emulated. Soap operas appeal to a wide audience and so storylines can be tailor-made according to the times and the needs in terms of health issues and messaging. Thus, soap operas are not a single platform but rather one which can be exploited to maximum advantage for public health messaging.
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Cavalcante, Sandra Regina. "Trabalho artístico na infância: estudo qualitativo em saúde do trabalhador." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/6/6134/tde-25052012-141746/.
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No Brasil, diante da proibição constitucional do trabalho antes dos 16 anos de idade e da inexistência de lei que defina limites e condições que protejam a saúde do artista mirim, alvarás judiciais têm autorizado a participação de crianças e adolescentes em produções artísticas e publicitárias, com base em norma internacional e critérios subjetivos do juiz. O objetivo do presente estudo é descrever e avaliar a atividade do artista mirim e suas possíveis repercussões no desenvolvimento infantojuvenil, a partir dos relatos das próprias crianças e adolescentes e de seus responsáveis. A pesquisa qualitativa exploratória coletou dados por meio de 25 entrevistas individuais e de 3 dias de observação dirigida. Foram ouvidos 10 artistas mirins, com idade entre 10 e 13 anos, e as respectivas mães, por meio de entrevistas individuais semiestruturadas. Também foram realizadas entrevistas na modalidade aberta com 5 profissionais adultos do segmento artístico. As observações foram feitas nos bastidores de gravação de novela com personagens infantis e em evento com caça-talentos. A análise dos dados empíricos utilizou a metodologia Análise Hermenêutico-Dialética. Os resultados mostram que os artistas mirins provêm de diversas classes socioeconômicas, que além da iniciativa da mãe para o ingresso do filho na carreira há também casos com motivação exclusiva da criança ou adolescente e que é comum haver parente próximo do artista mirim que gostaria de ter tido a experiência do trabalho artístico. Quanto aos efeitos na saúde biopsicossocial desses indivíduos, foram relatadas consequências positivas (aumento da autoestima, aprendizado de habilidades, aquisição de cultura) e negativas (baixa da autoestima, elevação da autocrítica, piora na alimentação, distúrbios no sono, impossibilidade de freqüentar compromissos familiares e escolares, prejuízo no rendimento escolar, prejuízo nas relações de amizade). O estudo dos aspectos organizacionais deste segmento evidenciou que a participação infantojuvenil tem natureza de trabalho, que inexistem cuidados especiais para adaptar o processo produtivo às necessidades do artista mirim e que as relações são estabelecidas em ambiente de pressão, competição e vaidade. As mães acompanhantes percebem a existência de riscos nessa participação. A lei com frequência é desrespeitada, seja devido à falta de alvarás judiciais, seja devido à impossibilidade dos acompanhantes permanecerem junto ao artista mirim durante a realização de testes, gravações e apresentações. Este estudo recomenda que se regulamente a matéria com regras de proteção à saúde e segurança dos artistas mirins, o que poderá embasar políticas públicas para o setor, como ações de vigilância e promoção da saúde e bem estar desta população.In Brazil, because of the constitutional prohibition of labor before the age of 16 and the absence of law that sets limits and conditions to protect the health of the young artist, court orders have authorized the participation of children and adolescents in artistic and advertising productions, based on the international standard and the judge´s subjective criteria. The study aims to describe and analyze the activity of the young artist and its possible impact on the child´s development, according to the reports from such youth and their parents. Data has been gathered through a qualitative exploratory research by interviewing 25 individuals and three days of directed observation. This survey heard 10 young artists, between the ages of 10 and 13, and their mothers, individually interviewing them with a semistructured script. Interviews were also openly conducted with 5 other adult professionals also belonging to the artistic segment. The observations were made back stage of soap opera recording sets that had characters that were being played by children, and also at talent scouting events. The empirical data analysis was done using the Hermeneutic-Dialectic method. The results show that young artists comes from different socioeconomic classes, that besides the parent´s initiative to promote the start of the child´s artistic career, there are also cases in which the motivation comes exclusively from the child or teenager, and that is common the existence of a close relative of the young artist that would have liked to have experienced working in the artistic segment. Bio-psycho-social health effects have been reported both, positively: increased self-esteem, improved learning skills, and higher culture acquisition; and negatively: low self-esteem, elevated self-criticism, poor nutrition, sleep disorders, inability to attend family and school commitments, deficits in school performance and damages relationships.The study of the organizational aspects of this segment not only shows evidence that child participation in the artistic segment does in fact have the characteristics of labor and that there is no special care to adapt the production process to the needs of the young artist, but also that relationships are established in an atmosphere of pressure, competition and vanity, and that the accompanying mothers are aware of the presence of risks. The law is often disregarded due to lack of court permits or due to the fact that the accompanying parent is not allowed to remain in set to supervise the child artist during testing, recording or during a presentation. This study recommends that the subject should be regulated with specific rules to protect the health and safety of young artists, so that it could base public policy for this sector, as surveillance and actions to promote the health and wellness of this population.
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Gharbi, Aymen. "Le roman, le cinéma et la télévision dans Les Soprano : la série télévisée entre art et industrie." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100152.
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Les prétentions esthétiques de la série télévisée Les Soprano nous ont convaincu qu’elle s’inscrit dans une période significative de l’histoire des médias : la migration du cinéma et la de littérature vers la sérialité télévisée, avec tout ce que cela implique de transformations sociale, esthétiques et économiques fondamentales. Nous mettrons cette période en parallèle avec celle du cinéma du vingtième siècle et du roman du dix-neuvième siècle, afin de montrer que l’œuvre est habitée, de manière aussi bien volontaire qu’involontaire, par certaines contradictions multidimensionnelles inhérentes aux mutations de l’industrie culturelle. Ces contradictions impliquent la contamination pathologique du récit par l’interruption et la répétition, connotant une passivité fondamentale de l’Homme moderneThe aesthetic pretensions of the television series The Sopranos have convinced us that it is part of a significant period in the history of the media: the migration of cinema and literature towards televised seriality with all that this implies of social, aesthetic and economic transformations. We will put this period in parallel with that of the twentieth century cinema and the nineteenth century novel to show that the work is inhabited, both voluntarily and involuntarily, by certain multidimensional contradictions inherent in the mutations cultural industry. These contradictions imply the pathological contamination of the story by interruption and repetition, which connotes a fundamental passivity of modern man
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Noble, Jonathan Scott. "Cultural Performance in China: beyond resistance in the 1990s." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1047438964.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains x, 253 p. Includes bibliographical references (p. 235-253). Available online via OhioLINK's ETD Center
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De, Montgolfier Clémence. "Représentations des mondes de l'art contemporain à la télévision française de 1960 à 2013. De la médiatisation à la médiation." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA126.
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Cette recherche vise à déterminer comment la télévision française représente les mondes de l’art contemporain de 1960 à nos jours. Grâce à une analyse sémiologique et pragmatique d’un corpus d’émissions sur l’art contemporain, nous avons constaté, d’une part, que l’évolution des programmes télévisés dits « culturels » montre une diminution de la part de ces derniers ainsi que leur relégation dans des heures creuses de la programmation depuis les années 1980. Alors que les programmes des années 1960 à 1980 visent à transmettre l’expérience esthétique des œuvres d’art depuis le terrain, les années 1980 à 2000 voient des programmes plus dialogiques où experts et artistes discutent sur le plateau. Ces échanges présentant peu de critique négative relèvent principalement de la promotion culturelle. D’autre part, depuis les années 2000, les émissions sur l’art contemporain s’inspirent des formes divertissantes de la télé-réalité. Des contradictions idéologiques surgissent entre la mission de médiation culturelle portée par l’ORTF puis les chaînes publiques et ces nouveaux récits de compétition. L’art contemporain se trouve alors au cœur des conflits de définition de la culture. D’un côté, sa médiatisation montre un monde de l’art hégémonique où les inégalités socioculturelles sont légitimées. De l’autre, la médiation opérée par les programmes continue de promettre un idéal de démocratisation de l’art contemporain à travers des récits d’accès au savoir, source d’égalité. La médiation des œuvres d’art, de l’exposition filmée à une télévision « curatoriale », promet plus d’immédiateté tout en multipliant les dispositifs de médiation. C’est dans cette indécidabilité que les programmes sur l’art contemporain ne peuvent tenir leurs promessesThis research aims to determine how French television has been representing the worlds of contemporary art from the 1960’s to nowdays. Through a semiological and pragmatic analysis of a corpus of television programs about contemporary art, we have observed, on the one hand, a decrease of their share and their relegation to less favorable hours of programing since the 1980’s. Whereas the programs from 1960 to 1980 aimed to transmit the aesthetic experience of the artworks as seen from the field, the programs between 1980 and 2000 were more dialogical and hosted discussions between experts and artists in the television studio. Showing few negative critiques, they fell under the discourse of cultural promotion. And on the other hand, since the 2000’s, television shows about contemporary art have been taking on the entertaining forms of reality shows. Ideological contradictions arise, between the cultural mediation mission carried on by the ORTF and later public channels and those new narratives of competition. Contemporary art finds itself at the heart of conflicts regarding the definition of culture. On one side, its media coverage shows a hegemonic world of art where sociocultural inequalities are legitimated. And on the other side, those programs continue to promise an ideal of democratization of contemporary art through narratives of accessing knowledge, source of emancipation and equality. Moreover, the mediation of the artworks, from the filmed exhibition to a “curatorial” television, promise more immediacy while multiplying the dispositifs of mediation. It is within this impossibility to decide what their purpose is that television programs about contemporary art can’t hold their promises
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Stenner, Jack Eric. "Public news network: digital sampling to create a hybrid media feed." Thesis, Texas A&M University, 2004. http://hdl.handle.net/1969.1/456.
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A software application called Public News Network (PNN) is created in this thesis, which functions to produce an aesthetic experience in the viewer. The application engenders this experience by presenting a three-dimensional virtual world that the viewer can navigate using the computer mouse and keyboard. As the viewer navigates the environment she sees irregularly shaped objects resting on an infinite ground plane, and hears an ethereal wind. As the viewer nears the objects, the sound transforms into the sound of television static and text is displayed which identifies this object as representative of an episode of the evening news. The viewer "touches" the episode and a "disembodied" transcript of the broadcast begins to scroll across the screen. With further interaction, video of the broadcast streams across the surfaces of the environment, distorted by the shapes upon which it flows. The viewer can further manipulate and repurpose the broadcast by searching for words contained within the transcript. The results of this search are reassembled into a new, re-contextualized display of video containing the search terms stripped from their original, pre-packaged context. It is this willful manipulation that completes the opportunity for true meaning to appear.
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Pando, Rosimeire Aparecida [UNESP]. "As contribuições do audiovisual para a formação de jovens produtores: a construção de conteúdos por meio de dispositivos móveis." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89549.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0
Previous issue date: 2012-03-23Bitstream added on 2014-06-13T20:28:07Z : No. of bitstreams: 1
pando_ra_me_bauru.pdf: 1232045 bytes, checksum: 47bf57c7307388b317f73f748ac6702b (MD5)Apresenta-se a possibilidade de criação de núcleos de produção audiovisual com conteúdos informativos que correlacionem, entre outros, arte, meio ambiente e tecnologia. Nesse contexto, a televisão digital e a internet surgem como suporte na cadeia produtiva de conteúdos realizados a partir de dispositivos móveis. Tal realidade conta com o incentivo, dentre outros, do Centro Nacional de Excelência em Produção de Conteúdos Digitais Interativos e Interoperáveis, coordenado pelo Ministério de Ciência e Tecnologia (MCT). As tecnologias de informação e comunicação (TICs) podem reestabelecer às produções midiáticas a vocação de fonte cultural formadora na vida dos indivíduos, principalmente jovens. Neste sentido, os meios de comunicação interativos prometem reduzir as fronteiras da desigualdade de acesso, fortalecendo a democratização de informações, o compartilhamento de saberes e práticas cidadãs
This paper presents the possibility of creating audiovisual production cores with informative and educative contents which correlate art, environment and technology, among others. In this context, digital television and internet appear as support to the production chain of contents generated from mobile internet devices. Such reality is encouraged, among others, by the Centro Nacional de Excelência em Produção de Conteúdos Digitais interativos e interoperáveis, coordinated by the Ministério de Ciência e Tecnologia (MCT). The information and communication technologies (ICT) can re-establish to the media productions the vocation of cultural source in one's life, especially the young. So, interactive communication means promise to reduce the bordes of access inequality, building up information democratization, knowledge sharing and civic practices
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Kent, Ellen. "Entanglement: Individual and Participatory Art Practice in Indonesia." Phd thesis, Canberra, ACT : The Australian National University, 2016. http://hdl.handle.net/1885/117054.
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This PhD addresses approaches to art practice that are
simultaneously individual and participatory. It comprises a
research-based dissertation that sets out to understand why
combined practices are so prevalent among contemporary Indonesian
artists (66.66 ̇%), and a practice-led body of work that
investigates the nexus between individual and participatory modes
in my own art practice, accompanied by an exegesis (33.33 ̇%) .
The arguments set out in the dissertation are the result of
research into primary and secondary written resources,
translations, field observations, interviews with artists and
with other experts in Indonesia. This is the first body of
research to address combined individual and participatory art in
Indonesia. Sanento Yuliman described the “artistic ideology”
of Indonesian modernism as simultaneously autonomous and
independent, and heteronomously tied to tradition and society’s
needs. This formed the foundations from which modern art
discourse in Indonesia involved artists in the lives of the
people (rakyat) while also defending artists’ individual
expression: a binding knot of the kind that Jacques Rancière
describes as the “aesthetic regime”. I draw attention to the
way participation consistently features alongside individuality
in discourses from those early artists; during art’s
instrumentalisation in development discourses; and when
contemporary artists begin involving the rakyat in participatory
art. Case studies addressing the work of five contemporary
artists (Arahmaiani Feisal, Made “Bayak” Muliana, I Wayan
“Suklu” Sujana, Tisna Sanjaya, and Elia Nurvista) show how
contemporary artists have extended this continuum to involve
people in the making of art, while still maintaining significant
individual practices. I demonstrate how particular contexts and
networks of production have continued to engage with the early
modernist concepts of autonomy and heteronomy, as well as
exogenous and originary endogenous discourses, to create
conditions which mandate the practice of both participatory and
individual art for many artists. In responding to these
conditions, the work by contemporary artists presented in this
research consciously engages with and reconstructs discourses
from Indonesian and global art histories.
The body of work experiments with variations on participatory and
individual art within community, institutional, educational and
public spaces. I became interested in these spaces in between the
one and the many while observing art and cultural practices in
Indonesia, and working in museum education in Australia.
Consequently, both fields – contemporary art in Indonesia and
my own art practice – are inextricably linked. The mediums used
are responsive to the contexts of those sites and diverse
conversations I seek to generate through the works. They include
fabric remnants, diverse printmaking techniques, wax resist on
paper and a two-channel video installation. The exegesis
addresses the conceptual background, intentions, research
methodologies and results of this practice-led research into the
nexus between individual and participatory modes of practice. In
responding to the different sites (referred to above) and
artistic modes, I examine both links and points of difference,
and demonstrate the continuing role of art as a liminal space of
expression and criticality.
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Barker, Cory Andrew. "Genre Welcome?: Formula, Genre and Branding in USA Network's Programming and Promotional Content." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1332972861.
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Dameron, Bryant Mark. "Walk 14 Blocks." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1431.
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Walk 14 Blocks is a document that describes my two-year investigation of simulation in everyday life. It describes how I examine both simulated places and the tools of simulation. I explain the key elements relating my work to simulation; experience, language, and the video monitor. I trace how I have utilized these elements in several works that led to my thesis exhibition titled Evidence.
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BARRA, LUCA. "Risate in scatola: storia, mediazioni e percorsi distributivi della situation comedy americana in Italia." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1099.
Full textAbstract:
Nel contesto italiano, molti prodotti mediali sono di origine straniera: diffusi o trasmessi insieme a quelli di produzione nazionale, al tempo stesso cambiano spesso forma, per andare incontro al pubblico italiano, e diventano, almeno in parte, diversi dall’originale. La tesi vuole, pertanto, porre le basi teoriche per uno studio sistematico dei processi di “mediazione” che intercorrono nel passaggio di un testo mediale da un Paese all’altro: l’appropriazione nazionale (“italianizzazione”), l’adattamento, la distribuzione, la circolazione e la messa in pagina di contenuti e prodotti. Tali strumenti trovano poi applicazione (e insieme conferma) nell’analisi delle vicende italiane della sitcom americana, e di alcuni titoli in particolare, sotto tre punti di vista: la ricostruzione della storia del genere, che segue le evoluzioni del sistema televisivo e mediale nazionale e da questo è mediato; la definizione delle oscillazioni e variazioni che il testo affronta, senza limitarsi alla traduzione ma seguendone l’adattamento e la traslazione; infine, il racconto dei percorsi tra mercati, doppiaggi e reti che compongono la filiera della sitcom, mettendo in evidenza il ruolo intermedio svolto dalle routine produttive e dagli addetti ai lavori coinvolti nella distribuzione internazionale (e poi, nel nuovo contesto, nazionale).In the Italian context, several media products have foreign origins: diffused or broadcast together with the national productions, they often change their nature in order to reach the Italian audience, and consequently become partially different products. Therefore, this dissertation aims to put the theoretical basis of a systematic study of the “mediation” processes that take place in the passage of a media text between two countries: national appropriation (“Italianization”), adaptation, distribution and circulation of different contents and products. Subsequently, these tools are applied on (and confirmed by) the analysis of the Italian vicissitudes of the US-made situation comedy, focusing on five titles, in order to study three aspects: the genre history on Italian TV, connected with the evolution of the national TV and media system; the variations and gaps that every text has to face, thus expanding the concept of translation into adaptation and transposition; in conclusion, the US sitcom chain in Italy, including TV markets, dubbings and broadcasting, highlighting the intermediary role played by production routines and professionals involved in the national and international distribution.
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BARRA, LUCA. "Risate in scatola: storia, mediazioni e percorsi distributivi della situation comedy americana in Italia." Doctoral thesis, Università Cattolica del Sacro Cuore, 2011. http://hdl.handle.net/10280/1099.
Full textAbstract:
Nel contesto italiano, molti prodotti mediali sono di origine straniera: diffusi o trasmessi insieme a quelli di produzione nazionale, al tempo stesso cambiano spesso forma, per andare incontro al pubblico italiano, e diventano, almeno in parte, diversi dall’originale. La tesi vuole, pertanto, porre le basi teoriche per uno studio sistematico dei processi di “mediazione” che intercorrono nel passaggio di un testo mediale da un Paese all’altro: l’appropriazione nazionale (“italianizzazione”), l’adattamento, la distribuzione, la circolazione e la messa in pagina di contenuti e prodotti. Tali strumenti trovano poi applicazione (e insieme conferma) nell’analisi delle vicende italiane della sitcom americana, e di alcuni titoli in particolare, sotto tre punti di vista: la ricostruzione della storia del genere, che segue le evoluzioni del sistema televisivo e mediale nazionale e da questo è mediato; la definizione delle oscillazioni e variazioni che il testo affronta, senza limitarsi alla traduzione ma seguendone l’adattamento e la traslazione; infine, il racconto dei percorsi tra mercati, doppiaggi e reti che compongono la filiera della sitcom, mettendo in evidenza il ruolo intermedio svolto dalle routine produttive e dagli addetti ai lavori coinvolti nella distribuzione internazionale (e poi, nel nuovo contesto, nazionale).In the Italian context, several media products have foreign origins: diffused or broadcast together with the national productions, they often change their nature in order to reach the Italian audience, and consequently become partially different products. Therefore, this dissertation aims to put the theoretical basis of a systematic study of the “mediation” processes that take place in the passage of a media text between two countries: national appropriation (“Italianization”), adaptation, distribution and circulation of different contents and products. Subsequently, these tools are applied on (and confirmed by) the analysis of the Italian vicissitudes of the US-made situation comedy, focusing on five titles, in order to study three aspects: the genre history on Italian TV, connected with the evolution of the national TV and media system; the variations and gaps that every text has to face, thus expanding the concept of translation into adaptation and transposition; in conclusion, the US sitcom chain in Italy, including TV markets, dubbings and broadcasting, highlighting the intermediary role played by production routines and professionals involved in the national and international distribution.
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Pando, Rosimeire Aparecida. "As contribuições do audiovisual para a formação de jovens produtores : a construção de conteúdos por meio de dispositivos móveis /." Bauru : [s.n.], 2012. http://hdl.handle.net/11449/89549.
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Orientador: João Baptista de Mattos Winck FilhoBanca: Sânderson Reginaldo de Mello
Banca: Regina Célia Baptista Belluzzo
O Programa de Pós Graduação em Televisão Digital: informação e conhecimento capacita profissionais para atuarem em televisão digital nas três áreas: comunicação, educação e tecnologia
Resumo: Apresenta-se a possibilidade de criação de núcleos de produção audiovisual com conteúdos informativos que correlacionem, entre outros, arte, meio ambiente e tecnologia. Nesse contexto, a televisão digital e a internet surgem como suporte na cadeia produtiva de conteúdos realizados a partir de dispositivos móveis. Tal realidade conta com o incentivo, dentre outros, do Centro Nacional de Excelência em Produção de Conteúdos Digitais Interativos e Interoperáveis, coordenado pelo Ministério de Ciência e Tecnologia (MCT). As tecnologias de informação e comunicação (TICs) podem reestabelecer às produções midiáticas a vocação de fonte cultural formadora na vida dos indivíduos, principalmente jovens. Neste sentido, os meios de comunicação interativos prometem reduzir as fronteiras da desigualdade de acesso, fortalecendo a democratização de informações, o compartilhamento de saberes e práticas cidadãs
Abstract: This paper presents the possibility of creating audiovisual production cores with informative and educative contents which correlate art, environment and technology, among others. In this context, digital television and internet appear as support to the production chain of contents generated from mobile internet devices. Such reality is encouraged, among others, by the Centro Nacional de Excelência em Produção de Conteúdos Digitais interativos e interoperáveis, coordinated by the Ministério de Ciência e Tecnologia (MCT). The information and communication technologies (ICT) can re-establish to the media productions the vocation of cultural source in one's life, especially the young. So, interactive communication means promise to reduce the bordes of access inequality, building up information democratization, knowledge sharing and civic practices
Mestre
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Castro, Jennifer de. "Le Festival de Cannes et la promotion du cinéma (1946-1972) : le 7ème art, un objet culturel protéiforme au service du prestige national." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA015.
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Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiésThis thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections
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Hinshaw, Jesse Creede. "Let's Exchange the Experience." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/art_design_theses/42.
Full textAbstract:
The purpose of this study is to attain an understanding of my work for the viewer as well as myself. These works on paper are visual documents illustrating my ideas and opinions about media and its desire for control. Through research, critical thinking, experience, and exposure to media (both wanted and unwanted) I have created imagery that I feel is exemplary of our forced relationship with advertising. In order to accomplish this I studied my influences, and the origin of my current work. Reading upon realization of those influences further informed the work. Every conceivable influence was studied and analyzed, and those studies are contained in this thesis. Questions of audience, scale, medium, and history were also taken into account as a measure to make this thesis cohesive. As an audience for advertisers we must constantly be aware of how our sensitivities are being played upon.
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Chevalier, Fleur. "Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
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Dès les années 1960, dans le contexte de la télédistribution française, des artistes profitent d’accéder à des équipements sophistiqués pour explorer le potentiel plastique de l’image électronique et mener leurs propres recherches visuelles. À la croisée du cinéma expérimental ou militant, des mouvements d’avant-garde et de l’art cinétique, ces pratiques marginales ne répondent pas aux normes du réalisme photographique ou de la vraisemblance illusionniste qui régissent la production audiovisuelle mainstream. Comment trouver sa place dans une structure vouée toute entière à la distribution de produits formatés conçus pour susciter l’adhésion du téléspectateur ? Comment s’infiltrer dans les brèches d’une industrie résolument hostile à tout écart optique et symbolique ? Les choix stratégiques des artistes qui œuvrent sur le territoire de la télédistribution découlent en grande partie des mutations économiques qui ont entraîné la transformation du paysage audiovisuel français, du démantèlement de l’ORTF à la privatisation partielle du réseau de télédiffusion. Face à la rigidité des standards imposés par les mass media, le détournement apparaît bien vite comme une solution pour se fondre dans l’environnement audiovisuel tout en façonnant des « contre-images » satiriques. Le désir d’explorer l’image cathodique se trouve alors supplanté par celui de pirater la rhétorique et l’espace médiatiques. Cependant, dès lors que l’image est perçue comme une agora à investir, il devient difficile de se soustraire à l’économie coercitive de « la société du spectacle »From the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
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Maillos, Marie. "Créateurs et créatures de séries télévisées : une poïétique du personnage." Thesis, Toulouse 2, 2019. http://www.theses.fr/2019TOU20036.
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Il existe un espace entre l’auteur et son personnage. Ce lieu est celui de la création, or scénaristes et showrunners eux-mêmes évitent consciencieusement de l’aborder dans leurs entretiens et leurs témoignages : comme l’électricité qu’utilise le Dr Frankenstein dans le roman de Mary Shelley pour donner vie à sa créature, ce qui donne vie au personnage audiovisuel apparaît aux créateurs comme une énergie magique qu’ils ne comprennent pas. Pourtant, la question de cette poïétique particulière aux personnages est d’autant plus prégnante en série que ceux-ci y ont une importance majeure, assurant la cohésion du texte et sa richesse. Nous nous sommes ici concentrés sur dix showrunners américains contemporains et leurs séries. En nous reposant d’une part sur leur intuition, notamment au travers des divers entretiens donnés au cours de leurs carrières, et d’autre part sur une analyse des séries terminées ou de leur bible, nous tentons dans cette thèse de conceptualiser cette « magie »There is a “space” between the author and his character. This is the place of the creation, although screenwriters and showrunners conscientiously avoid it in their interviews and their testimonies. Just as electricity gave Frankenstein’s creature its life in Mary Shelley’s novel, what animates audiovisual characters appears to creators as some sort of magical and otherworldly energy. Nevertheless, the specific question of the characters’ poïesis is all the more significant concerning TV series, since characters have a major importance in it, assuring its coherence and its sapidity. We concentrated our work on ten contemporary showrunners and their TV shows. Relying on one hand on those creators’ intuition on the subject – which manifested in diverse interviews within their respective careers – and, on the other hand, on the analysis of the series and their bibles, we propose to conceptualize this “magic energy”
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RECALCATI, ELEONORA. "LA POLIFONIA DALLA PAGINA ALLO SCHERMO. ANALISI DI TRE ADATTAMENTI AUDIOVISIVI DEL ROMANZO I FRATELLI KARAMAZOV DI FËDOR DOSTOEVSKIJ." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/40180.
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La ricerca si colloca nell’ambito degli studi sull’adattamento, scegliendo una prospettiva ispirata alle teorie sviluppate dal filosofo russo Michail Bachtin riguardo all’autorialità.
La domanda da cui muove l’analisi di tre adattamenti audiovisivi del romanzo dostoevskiano I fratelli Karamazov si riferisce all’adattabilità sullo schermo del principio letterario della polifonia, individuato da Bachtin. I tre adattamenti, scelti per elementi di omogeneità formale e di eterogeneità rispetto alla resa polifonica sono: il film Brothers Karamazov (Richard Brooks, Stati Uniti 1958); lo sceneggiato televisivo I fratelli Karamazov, (Sandro Bolchi, Italia 1969) e il film Brat’ja Karamazovy, (Ivan Pyr’ev, Michail Ul’janov e Kirill Lavrov, Unione Sovietica 1969).
Prima di procedere alle analisi, attraverso una disamina della critica e dei testi bachtinani, abbiamo voluto riconnettere la polifonia letteraria alle ricerche filosofiche dal teorico russo nel corso degli anni Venti e all’humus culturale della filosofia religiosa russa. In seguito a questo approfondimento “genealogico”, abbiamo identificato le implicazioni formali della polifonia e avanzato la nostra proposta metodologica, fondata sulla ripresa dell’elemento autoriale in senso bachtiniano. Nel corso degli anni Settanta, infatti, la critica letteraria e cinematografica è stata influenza dal concetto di morte dell’Autore e ha posto l’accento univocamente sull’intertestualità. Attraverso una disamina delle teorie dell’adattamento, dalla trasmutazione di Umberto Eco alla ri-creazione di Carlo Testa, proponiamo una nuova formulazione ispirata agli studi bachtiniani sull’eccedenza di visione, la posizione nel mondo unica e insostituibile da cui scaturisce la visione dell’autore ( e, nel nostro caso, dell’adattatore).
In un secondo momento l’analisi si rivolge alla sceneggiatura e al prodotto audiovisivo, attraverso una metodologia integrata che contempli una fase comparativa, drammaturgica, strutturale, tematica e linguistica. Il proposito che orienta le fasi dell’analisi è quello di valutare la resa polifonica delle tre opere, identificando le condizioni che agevolano la polifonia in un prodotto audiovisivo.The research pertains to the field of adaptation studies, choosing a perspective inspired by the theories developed by Russian philosopher Mikhail Bakhtin on authorship. The question from which the whole analysis of the three audiovisual adaptations of Dostoyevsky’s novel The Brothers Karamazov moves, refers to the adaptability for the screen of the literary principle of polyphony as identified by Bakhtin. The three adaptations, chosen for elements of formal homogeneity and heterogeneity in relationship to polyphonic rendition are: the movie Brothers Karamazov (Richard Brooks, USA 1958); the TV Drama I fratelli Karamazov (Sandro Bolchi, Italy 1969) and the movie Bratya Karamazovy, (Ivan Pyryev, Michail Ulyanov and Kirill Lavrov, Soviet Union 1969). Before moving forward with the analysis, through an examination of both Bakhtin’s critic and texts, we wanted to reconnect literary polyphony with the Russian theoretician’s philological research in the 1920’s and the cultural hummus of Russian religious philosophy. After this “genealogical” study, we identified polyphony’s formal implications and advanced our methodological proposal, founded on the assessment of the authorial element in a bakhtinian sense. During the Seventies, in fact, literary and film critic was influenced by the concept of the death of the Author, and focused uniquely on intertextuality Through an examination of adaptation theories, from Umberto Eco’s transmutation to Carlo Testa’s re-creation, we are proposing a new formulation inspired by bakhtinian studies on surplus vision, the unique and irreplaceable view of the world the author’s (and in our case, the adapter’s) vision stems from. At a later stage the analysis turns to the screenplay and the audiovisual product, through an integrated methodology covering a comparative, dramaturgical, structural, thematic and linguistic phase. The purpose that guides the phases of the analysis is to evaluate the polyphonic rendition of the three works, identifying the conditions that facilitate polyphony in an audiovisual product.
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RECALCATI, ELEONORA. "LA POLIFONIA DALLA PAGINA ALLO SCHERMO. ANALISI DI TRE ADATTAMENTI AUDIOVISIVI DEL ROMANZO I FRATELLI KARAMAZOV DI FËDOR DOSTOEVSKIJ." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/40180.
Full textAbstract:
La ricerca si colloca nell’ambito degli studi sull’adattamento, scegliendo una prospettiva ispirata alle teorie sviluppate dal filosofo russo Michail Bachtin riguardo all’autorialità.
La domanda da cui muove l’analisi di tre adattamenti audiovisivi del romanzo dostoevskiano I fratelli Karamazov si riferisce all’adattabilità sullo schermo del principio letterario della polifonia, individuato da Bachtin. I tre adattamenti, scelti per elementi di omogeneità formale e di eterogeneità rispetto alla resa polifonica sono: il film Brothers Karamazov (Richard Brooks, Stati Uniti 1958); lo sceneggiato televisivo I fratelli Karamazov, (Sandro Bolchi, Italia 1969) e il film Brat’ja Karamazovy, (Ivan Pyr’ev, Michail Ul’janov e Kirill Lavrov, Unione Sovietica 1969).
Prima di procedere alle analisi, attraverso una disamina della critica e dei testi bachtinani, abbiamo voluto riconnettere la polifonia letteraria alle ricerche filosofiche dal teorico russo nel corso degli anni Venti e all’humus culturale della filosofia religiosa russa. In seguito a questo approfondimento “genealogico”, abbiamo identificato le implicazioni formali della polifonia e avanzato la nostra proposta metodologica, fondata sulla ripresa dell’elemento autoriale in senso bachtiniano. Nel corso degli anni Settanta, infatti, la critica letteraria e cinematografica è stata influenza dal concetto di morte dell’Autore e ha posto l’accento univocamente sull’intertestualità. Attraverso una disamina delle teorie dell’adattamento, dalla trasmutazione di Umberto Eco alla ri-creazione di Carlo Testa, proponiamo una nuova formulazione ispirata agli studi bachtiniani sull’eccedenza di visione, la posizione nel mondo unica e insostituibile da cui scaturisce la visione dell’autore ( e, nel nostro caso, dell’adattatore).
In un secondo momento l’analisi si rivolge alla sceneggiatura e al prodotto audiovisivo, attraverso una metodologia integrata che contempli una fase comparativa, drammaturgica, strutturale, tematica e linguistica. Il proposito che orienta le fasi dell’analisi è quello di valutare la resa polifonica delle tre opere, identificando le condizioni che agevolano la polifonia in un prodotto audiovisivo.The research pertains to the field of adaptation studies, choosing a perspective inspired by the theories developed by Russian philosopher Mikhail Bakhtin on authorship. The question from which the whole analysis of the three audiovisual adaptations of Dostoyevsky’s novel The Brothers Karamazov moves, refers to the adaptability for the screen of the literary principle of polyphony as identified by Bakhtin. The three adaptations, chosen for elements of formal homogeneity and heterogeneity in relationship to polyphonic rendition are: the movie Brothers Karamazov (Richard Brooks, USA 1958); the TV Drama I fratelli Karamazov (Sandro Bolchi, Italy 1969) and the movie Bratya Karamazovy, (Ivan Pyryev, Michail Ulyanov and Kirill Lavrov, Soviet Union 1969). Before moving forward with the analysis, through an examination of both Bakhtin’s critic and texts, we wanted to reconnect literary polyphony with the Russian theoretician’s philological research in the 1920’s and the cultural hummus of Russian religious philosophy. After this “genealogical” study, we identified polyphony’s formal implications and advanced our methodological proposal, founded on the assessment of the authorial element in a bakhtinian sense. During the Seventies, in fact, literary and film critic was influenced by the concept of the death of the Author, and focused uniquely on intertextuality Through an examination of adaptation theories, from Umberto Eco’s transmutation to Carlo Testa’s re-creation, we are proposing a new formulation inspired by bakhtinian studies on surplus vision, the unique and irreplaceable view of the world the author’s (and in our case, the adapter’s) vision stems from. At a later stage the analysis turns to the screenplay and the audiovisual product, through an integrated methodology covering a comparative, dramaturgical, structural, thematic and linguistic phase. The purpose that guides the phases of the analysis is to evaluate the polyphonic rendition of the three works, identifying the conditions that facilitate polyphony in an audiovisual product.
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Santamaría, Julca Lía Nathalia. "Representación de personajes andinos desde la estética audiovisual publicitaria de la televisión peruana." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655157.
Full textAbstract:
El racismo está presente dentro de la cultura peruana, pero de una manera muy aversiva: se expresa en forma cómica o en forma de burla. El propósito del trabajo es comprobar qué tanto perciben los comunicadores en formación la representación de personajes andinos con respecto a la estética audiovisual. Luego de investigar y leer artículos, se reconoce la relación entre los estereotipos étnicos, el racismo peruano sobre el personaje andino y la estética audiovisual de los comerciales de televisión, siendo estos normalizados en algunos casos por la sociedad peruana. Esta investigación es de carácter cualitativo, para el cual se utilizará un método de recolección de datos: una guía de entrevistas para 15 comunicadores en formación que sintonicen frecuentemente la televisión peruana. El resultado que se espera es ver si los comunicadores en formación perciben los estereotipos y representaciones de personajes andinos. Además, de qué manera lo hacen y si reaccionan o no.Racism is present within Peruvian culture, but in a very aversive way: it is expressed in a comical way or in the form of derision. The purpose of the work is to check how much the communicators in training perceive the representation of Andean characters with respect to the audiovisual aesthetic. After researching and reading articles, the relationship between ethnic stereotypes, Peruvian racism about the Andean character and the audiovisual aesthetics of television commercials is recognized, these being normalized in some cases by Peruvian society. This research is qualitative in nature, for which a data collection method will be used: an interview guide for 15 communicators in training who frequently tune in to Peruvian television. The expected result is to see if the communicators in training perceive the stereotypes and representations of Andean characters. Also, in what way do they do it and if they react or not.
Trabajo de investigación
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Smith, Dominique J. "Something's Wrong When You Regret Things That Haven't Happened: Effects of the Victimization of Women in Media." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/309.
Full textAbstract:
This paper will explore how portrayals of male violence against female characters in film and television have affected the way in which women navigate through society. Images of exploitation, degradation, and violence towards females are constantly presented in television and film, creating an over saturation in the media market and fostering a sense of normalcy the extremely problematic issue of violence. Often, these images are internalized by women to the extent that their view the men around them becomes as distorted as the men who view them as nothing more than sex object. Men become their source of fear and what was carried out on television becomes an accepted possibility and expectation in reality, regardless of whether these men actually pose of threat.
Through examining television shows and news broadcasts, the paper reveals how media serves to perpetuate traditional notions of gender, power, and assault created in American society and offers solutions to rework the traditional systems or thought.
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Antohe, Diana. "Parallel Pattern: A Familial Legacy of Care." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5837.
Full textAbstract:
My work revolves around exploring identity of the in-between, occupying the Venn diagram middle of two cultures. As a Romanian-born, American-raised artist, I want to preserve and broadcast links to the cultures of my upbringing and birthplace. In attempts to ground and define my own “in-between” identity, I look to my parents and grandparents for cues on how they made home for themselves wherever they went, reflecting their experiences with voluntary and involuntary displacement. This text connects the research and influential family practices that shaped its companion exhibition, ranging from the role of portability in emotional transnationalism to the lasting mythology the soap opera “Dallas” holds in Romania.
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.
Full textAbstract:
Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.
Full textAbstract:
Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.