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Journal articles on the topic 'Television and art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Кокарев, Александр Сергеевич. "ART - TELEVISION OR TELEVISION ART?" Вестник Тверского государственного университета. Серия: Филология, no. 3(70) (September 21, 2021): 177–81. http://dx.doi.org/10.26456/vtfilol/2021.3.177.

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Автор рассматривает эстетическую природу телевидения, составляющие компоненты художественного образа, язык выразительных средств различных искусств и природную связь ТВ с кинематографом. The article examines the aesthetic nature of television, the components of the artistic image, the «language» of expressive means of arts and the natural connection of TV with cinema.

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Cardwell, Sarah. "Television Amongst Friends: Medium, Art, Media." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 6–21. http://dx.doi.org/10.7227/cst.9.3.2.

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From the perspective of analytic philosophical aesthetics, this paper disputes the commonplace practice of referring to television as a ‘medium’. It proposes instead that television be regarded as an art composed of many media. Individual works employ various media available to television and also to other arts. The paper evaluates the usefulness of these distinctions for our conceptual understanding of television, appraisal of television works and appreciation of television in relation to other arts. Via its reconfiguration of ‘medium/media’, it challenges narrowly contemporary notions of the televisual, positing a more historicised model and situating television alongside other arts — amongst friends.

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Song, Lu, Xiujiang Pan, and Peiran Fan. "The Practice of Virtual Reality Technology in the Teaching of Film and Television Art." Journal of Education and Educational Research 5, no. 3 (October 1, 2023): 220–26. http://dx.doi.org/10.54097/jeer.v5i3.13724.

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With the progress of science and technology, virtual reality technology has gradually been integrated into People’s Daily life. As a technology that can provide immersive experience, the application of virtual reality in the field of film and television art has gradually attracted attention. For film and television art colleges, the introduction of this technology has brought revolutionary changes to teaching and creation, and brought new possibilities for teaching and creation. This paper will discuss the application practice of virtual reality technology in film and television art colleges and its influence on film and television art education. This paper first introduces the concept and characteristics of virtual reality technology, and then expounds the practical application of virtual reality technology in the teaching of film and television art universities, including the application of film and television production, film and television theory teaching and distance education. Finally, this paper discusses the effects and challenges of virtual reality technology in the college teaching of film and television art, and prospects the future development trend of film and television art.

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Sun, Lin. "Research on Digital Media Art Film and Television Special Effects Technology Based on Virtual and Reality Algorithm." Scientific Programming 2022 (September 24, 2022): 1–7. http://dx.doi.org/10.1155/2022/4424772.

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Art special effects, as a kind of new media art form, bring different visual impacts to viewers in film and television animation. This study discusses the application of digital media art film and television special effects’ technology through virtual and realistic algorithms. The wide application of digital media art film and television special effects’ technology has achieved the purpose of saving production time and cost for the creation of film and television dramas. Through the comprehensive analysis and research on art creation, image impact, film viewing perception, and natural interactive emotion under different technological environments, and the analysis of the comparison results, it can be seen that digital media art film and television special effects’ technology has a far-reaching impact on film and television animation, can better carry out the sustainable development of film and television field, also promote the sustainable development of science and technology to a certain extent, promote the modern development of digital media art design, support society's continuous development and progress, and better promote the all-round integration of digital media art and film and television creation.

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PÁLMAI, KATALIN. "Art Appreciation on Hungarian Television." Journal of Art & Design Education 5, no. 1-2 (June 1986): 159–66. http://dx.doi.org/10.1111/j.1476-8070.1986.tb00196.x.

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6

Gray, Robert H. "Youth, Culture, Art Education, Television." Design For Arts in Education 90, no. 4 (April 1989): 23–25. http://dx.doi.org/10.1080/07320973.1989.9935556.

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7

Hung, Wu. "Television in Contemporary Chinese Art." October 125 (July 2008): 65–90. http://dx.doi.org/10.1162/octo.2008.125.1.65.

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8

Li, Xiaoxu. "The Practical Application of Film and Television Packaging Art in Television News Programs." Communications in Humanities Research 24, no. 1 (January 3, 2024): 270–75. http://dx.doi.org/10.54254/2753-7064/24/20231794.

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Film and television packaging art plays a crucial role in television news programs. By employing film and television packaging, television news programs can achieve more sophisticated production and higher levels of visual effects, thereby enhancing the program's visibility and appeal and strengthening its communication effectiveness. The application of film and television packaging art is wide-ranging, including aspects such as title design, image and visual effects, sound design, and color and style. Successful television news programs often leverage the advantages of film and television packaging art to garner audience recognition and attention. With the continuous innovation and development of film and television packaging technology, the film and television packaging of television news programs in the future will have more possibilities, bringing viewers more rich, vivid, and immersive visuals.

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Keinonen, Heidi. "Arts and Advertising: Aesthetics of Early Commercial Television in Finland." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 165–77. http://dx.doi.org/10.2478/ausfm-2014-0010.

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Abstract Finnish television was launched by a commercial company in 1956. TES-TV, the first television station, was later followed by a programming company called Tesvisio and joined by the television channel of YLE, the Finnish Broadcasting Company. The TES-TV/Tesvisio years are a unique period in television history, since they witnessed the creation of a connection between commercial television and the arts. In this article I aim to study early Finnish television aesthetics by analyzing television as art and also the relations between television and other art forms. My focus is on the representations of high and low culture and the search for a television style. TES-TV aired both popular programmes and high culture, like ballet, while on Tesvisio, these cultural extremities were gradually replaced by a middle-brow culture. The early programming included both filmed and live material, which had a contribution to the evolution of Finnish television aesthetics. The television style was further developed by Tesvisio’s first professional set designer and his experimental work. Therefore I claim that in these commercial companies television was seen as an art form in its own right, not only as a mediator of art

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Jianchao, Ren. "The influence of traditional culture on the role shaping of Chinese local film and television animation." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 164–69. http://dx.doi.org/10.31166/voprosyistorii202308statyi36.

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This article mainly summarizes the role building of Chinese local film and television animation, analyzes the influence of traditional culture on the role building of Chinese local film and television animation, and introduces in detail the application of traditional culture such as paper cutting art, ink painting art, costume art and opera art in the role building of film and television animation.

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Bakhrieva, Manija. "The Oratory Art on Uzbek Television." International Journal of Multicultural and Multireligious Understanding 8, no. 12 (December 4, 2021): 231. http://dx.doi.org/10.18415/ijmmu.v8i12.3274.

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In recent years, as well as throughout the world, television in Uzbekistan has been rapidly developing. State and non-state TV channels also play a special role in finding their audience. The issue of speaking is of great importance for a highly professional TV presenter, in general for television journalists, which in turn requires a more consistent introduction of the art of oratory on Uzbek television. In this study, the same questions were examined in relation to the practical process.

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12

Xie, Feng. "Analysis of Innovative Methods of Interactive Film and Television Art in Traditional Story Narration." International Journal of Social Sciences and Public Administration 3, no. 1 (May 27, 2024): 332–35. http://dx.doi.org/10.62051/ijsspa.v3n1.47.

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This article aims to explore how interactive film and television art can influence traditional storytelling through innovative methods. By analyzing the characteristics of interactive film and television art, comparing it with traditional narrative, and specific innovative practice cases, this article reveals the potential of interactive film and television art in enhancing audience participation, expanding narrative structure, and enhancing emotional resonance.

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Cui, Huaguo, Lingling Ding, and Dong-yeul Jang. "Simulation Analysis of Aesthetic Effects of Context in Film and Television Animation Based on Unity 3D." Tobacco Regulatory Science 7, no. 5 (September 30, 2021): 2549–58. http://dx.doi.org/10.18001/trs.7.5.1.24.

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Film and television animation generally belongs to the art form of film and television category, but it also contains a large number of characteristics of art visual communication. To explore the research scope of visual communication of film and television animation aesthetics, we may as well start from the perspective of methodology. If the methodology of aesthetics is also applicable to the study of film and television animation aesthetics, we can choose the most commonly used methodology in literature and art and aesthetics to analyze the aesthetic application of film and television animation works from different angles, such as “symbolic research method”, “psychoanalysis method”, etc., so as to find the key to the existence of the aesthetic significance of film and television animation works.

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Fayzieva, Feruza Khojimurodovna. "FORMATION OF ART TELEVISION IN UZBEKISTAN." Theoretical & Applied Science 86, no. 06 (June 30, 2020): 272–77. http://dx.doi.org/10.15863/tas.2020.06.86.54.

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15

Steenberg, Lindsay. "The Fall and Television Noir." Television & New Media 18, no. 1 (September 19, 2016): 58–75. http://dx.doi.org/10.1177/1527476416664185.

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This article analyzes the Belfast-set BBC series The Fall (2013–) as an illustrative example of television noir. It aims to use noir scholarship to investigate The Fall’s complex gender politics and genre position, and, more significantly, to use The Fall to illuminate the complex ways in which noir currently operates across Anglo-American television and culture. The Fall is self-conscious, if not self-reflexive, in its mobilization of noir to aspire to the cinematic. This article argues that the series, and others like it, use noir as a legitimation strategy, often to excuse prurient stories of sexualized violence. The act of labeling something noir, particularly a visual fiction, is a way of insisting on its status as art. I conclude that the system of noir (and its associations with art and authenticity) is unable to contain the excesses of the serial killer mythology and Gothic inflection of its postfeminist investigator.

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Khibadullina, A. S. "Art journalism: film art in the socio-cultural paradigm." Bulletin of L.N. Gumilyov Eurasian National University. JOURNALISM Series 142, no. 1 (2023): 112–20. http://dx.doi.org/10.32523/2616-7174-2023-142-1-112-120.

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The article talks about one of the new directions in the development of modern journalism - art journalism, as well as about the place and development of "film journalism" in providing information within this direction, cinema. Today's film production is available not only in cinemas, but also on TV, tablets and the Internet. Therefore, it is important to take into account the development of modern film production and different methods of studying the film genre, as well as the function of cinema art in the socio-cultural space. The influence of modern technologies on film production is recognized as an urgent issue. In society in general, no one can limit a person's inner spiritual need and taste. As demand grows, the requirements and tasks for teleworking grow. Television equipment is also being developed taking into account the requirements. Since it is impossible to separate the history of television from cinematography, there is a need to consider film journalism from a theoretical and practical point of view. Therefore, it is necessary to know the theoretical foundations of working with information in the development of art journalism as one of the directions of industry journalism, the development of cinematography. It is known that speech in cinema and on television forms the culture of speech in society, so it is important from a practical point of view to pay attention to the use of the possibilities of cinema, theater and new media and consider the way of a comprehensive study of screen culture

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Rodríguez, Arturo. "Progenitores del Vídeo. El Arte del Vídeo ante los Fantasmas de su Historia Familiar." Barcelona Investigación Arte Creación 8, no. 3 (October 3, 2020): 227. http://dx.doi.org/10.17583/brac.2020.3956.

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From the very beginning, museums and the audiovisual industry of television have nurtured the institutionalization process of video in the art domain.On the one hand, the influx of museums has been paramount when it comes to legitimating avant-garde discourses. However, they always showed misgivings in the face of certain practices supported on technology reproduction or “outlying” its coded space along the lines put forward by the video produced by artists.On the other hand, the domain of artistic creation, inasmuch as it belongs in the social sphere, has not been able to stay away of television’s influx and its powerful information, iconic and linguistic flow, just in the same way as contemporary creation has influenced the phenomenon of television.The paper “Coming to the terms with the frightful parent: video art and television” produced by John Wyver, historian and TV producer, as well as professor at the University of Westminster, provides the basis to study the way in which cultural criticism in the eighties exerted an influence in the development of the links between video art and television. This interaction in the form of some sort of domestic tension paved the way for the institutionalization of video production in the terms acknowledged nowadays.

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Chambers, Deborah. "The Rise and Fall of the Analogue Television Set." VIEW Journal of European Television History and Culture 8, no. 15 (October 27, 2019): 79. http://dx.doi.org/10.18146/2213-0969.2019.jethc166.

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This article explores the shifting materiality and meanings of television as an exhibited object. To consider the fluctuating discourses involved in the display of analogue TV sets, the article critically examines how the object has been re-presented: aestheticized, interrogated, destabilised and reorganized as science, modernity, art, and media heritage. An interpretive approach drawing on Walter Benjamin and media archaeology is supported by archival sources. The term “analogue rupture” is introduced to critically assess the implications of, and discontinuities involved, in analogue television’s status as art and heritage. Digital media heritage discourses that invite us to regard obsolescence as inevitable progress are questioned.

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Kim, Hee-young. "Raoul Hausmann’s Optophone and Nam June Paik’s Electronic Television: Expanding Communication." Center for Asia and Diaspora 13, no. 2 (August 31, 2023): 100–125. http://dx.doi.org/10.15519/dcc.2023.08.13.2.100.

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Nam June Paik’s major contribution in art has been highlighted on his use of television broadcasting information and images. His work shown on television screen is considered to have magnified the aesthetic quality of electronic images, thereby broadening the scope of visual art. Instead of the aesthetic novelty in his art, this paper pays particular attention to Paik’s creative use of invisible electronic signs in his experiments with electronic television. From a media archaeological point of view, it investigates the techno-epistemic relation between Berlin Dadaist Raoul Hausmann’s optophone and Nam June Paik’s electronic television by focusing on their shared visions in new machine art. Although Paik’s work is regarded as Neo-Dada in music, this paper focuses not as much on Dada’s destructive forms as on Dada’s insight for future. While challenging the concept of art, Hausmann also pursued experiments with technical media embracing machines. This paper intends to uncover the forgotten optophone, which envisioned the expansion of senses, the reconstitution of time-space perception, and the extension of the range of communication by utilizing tele-technology. It further argues that Paik’s electronic television realized the avant-garde vision of optophone at a technical level. Based on his solid understanding of electronic transmission technology, Paik sought to explore the possibilities of art as communication.

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Xiong, Wei. "Construction of Teaching Mode of Film and TV Art in Institution of Higher Learning Using Virtual Simulation Technology." Computational Intelligence and Neuroscience 2022 (July 4, 2022): 1–9. http://dx.doi.org/10.1155/2022/6216232.

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The modernization of education necessitates the enhancement of instructional quality. This paper begins with a basic overview of the current state of film and television art education and then goes on to examine the current state of film and television art education and develop a virtual simulation-based teaching mode for film and television art. This paper develops an instructional quality evaluation model to assess the feasibility of this teaching mode. In this model, GA is used to optimize BPNN's initial weights and thresholds, reducing the time it takes BPNN to find the weights and thresholds that satisfy the training termination conditions. Improve BPNN's prediction accuracy and convergence speed in relation to instructional quality evaluation results. The evaluation accuracy of this algorithm can reach 94.31 percent, which is 6.35 percent higher than other methods. Furthermore, the use of virtual simulation technology in the teaching of film and television art in higher education institutions can have a significant impact and have far-reaching research implications. The findings of this study can be used to improve the teaching of film and television art in institutions of higher learning.

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Honcharuk, Serhii, and Vladyslav Marusenko. "Impact of Technology on Electronic Broadcasting Development." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (October 20, 2023): 166–76. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289285.

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The purpose of the article is to analyze the history of television art and electronic broadcasting in Ukraine; to find out the technologies that influence the development of the television industry; to consider the media market offers to the modern viewer and to conduct a comparative analysis of audiovisual works offered by the Internet; to find possible options for synthesis between television and the Internet; to find out the advantages and disadvantages of broadcasting and online media. Research Methodology. The following methods were used: theoretical – to study the historiography of the development of television, namely, information sources, infographics and publications; practical – to review the offers of the modern media market and compare it with audiovisual content on the Internet; analysis – to study the content under study in detail, in particular, an overview of television and the Internet, to understand the quality of media production; analogy – to draw clear parallels between the media product of television production and the Internet. Scientific novelty. For the first time, a detailed analysis of the history of electronic art in the context of screen broadcasting development is carried out, namely, the technologies of influence on television broadcasting, viewer tastes and preferences at certain stages of media market development are considered. The state of contemporary electronic art development and its impact on the viewer is analyzed, and a general vision of the viewer audience is formed. Variants of media products of the synthesis of television and the Internet are presented, taking into account new genres of audiovisual works. Conclusions. The article analyses the history of the formation and development of Ukrainian electronic art. The main stages of television technology formation and improvement of electronic broadcasting and cinema techniques have been identified. The state of transformation and changes in electronic art in the modern world, as well as the factors influencing the rapid changes in the technologies of screen broadcasting, have been analyzed. A general picture of the technology’s impact on the development of the modern media space has been formed.

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22

Healy, Chris. "When we look at pictures: Travel television and the intimacy of companion memory." Memory Studies 6, no. 3 (June 28, 2013): 262–72. http://dx.doi.org/10.1177/1750698013482645.

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Remembering in ‘modern’ Australia arises first and foremost through the transcultural processes of settler colonialism. This article explores some questions of memory’s cultures through a discussion of ‘travel television’. It argues that this kind of television is an example of a hybrid or non-human form of remembering that I call companion memory. I consider two examples: the 1950s television series, Australian Walkabout, and a recent television series on Australian indigenous art, Art + Soul. I conclude by considering how memory and travel might help us think about the kinds of intimacy and proximity implied by the notion of ‘memory up close’.

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23

Guttentag, Deborah N. W. "Pediatric Television: the State of the Art." Children's Health Care 15, no. 2 (September 1986): 82–90. http://dx.doi.org/10.1207/s15326888chc1502_5.

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24

Zhang, Yi Fei, Zhao Yang Meng, and Guo Zhang. "Digital Simulation Television Technology Show the Chinese Culture." Advanced Materials Research 962-965 (June 2014): 2924–27. http://dx.doi.org/10.4028/www.scientific.net/amr.962-965.2924.

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By using modern television technology, we could create great film and television works by combine the technology and the film art perfectly. The movie Avatar lead a revolution of television technology. In this article, we will focus on the how to make film and television works which contain the Chinese culture.

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25

Ouellette, Laurie. "The Video Revolution, according to the Museum of Modern Art." Film Quarterly 77, no. 1 (2023): 75–80. http://dx.doi.org/10.1525/fq.2023.77.1.75.

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The recent exhibit at the Museum of Modern Art in New York, Signals: How Video Transformed the World offers a critical look at the medium, spanning from the 1960s to the present. Featuring works from guerilla television collectives like Raindance to contemporary artists like Martine Syms and Tiffany Sia, MoMA’s exhibit employs a more expansive definition of video to include television broadcasting, CCTV, and moving images captured and shared on cell phones. Film Quarterly contributing editor Laurie Ouellette argues that while MoMA frames the exhibit in terms of video’s critical potential to speak against television and media infrastructures, the exhibit is limited by the lack of historical context given to the ideological and material uses of video. The exhibition points to the contradictions inherent in the media landscape, which for Ouellette, demands greater critical attention for video in television and new-media studies.

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Ferdinanda, Ferdinanda. "ASPEK HUKUM DALAM PENGELOLAAN PRODUKSI MEDIA TELEVISI DAN FILM." JURNAL HARMONI 13, no. 1 (April 30, 2023): 51–61. http://dx.doi.org/10.26618/jh.v13i1.12319.

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Film and television works in the form of audio-visual media are the youngest fields of art compared to other branches of art. As with other sectors, in Indonesia itself regulations for art are also governed by rules and laws (laws), both in terms of production, distribution and consumption. Not to limit creativity, but these rules are enforced to protect consumers (art connoisseurs) and the artists themselves from misuse of works of art such as elements of pornography, copyright abuse and so on. This paper is a descriptive analysis supported by literature on television and film available in libraries and online media.

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Li, Panpan. "The Development of 3D Movie Animation Industry in the New Media Art Era." Journal of Education, Humanities and Social Sciences 18 (August 11, 2023): 217–22. http://dx.doi.org/10.54097/ehss.v18i.10996.

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With the continuous progress of technology and the increasing diversification of supporting tools, the penetration and application of 3D film and television special effects technology in the animation industry is also deeper, thus playing an irreplaceable role. By studying the development of 3D film and television animation industry in the era of new media art, new media art has become the new mainstream of world art at this stage. The use of network media to achieve information dissemination has greatly improved the speed and coverage of communication, and the application of Internet communication platform has also provided conditions for the interactive exchange of works. Not only has great commercial value, but also has potential value that can be tapped. The new media art is greatly different from the traditional art form in both its internal characteristics and its external manifestations. However, 3D film and television special effects technology is an important technology to promote the development of animation film and television, which makes the production of animated films more sophisticated, can bring the audience an immersive feeling, and enables the audience to get a better sense of experience. Better promote the deep integration of technology and film, and bring more rich experiences and enjoyment to the public.

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Frykholm, Joel. "Renegotiating quality TV in the Swedish press." Nordicom Review 42, no. 1 (January 1, 2021): 59–78. http://dx.doi.org/10.2478/nor-2021-0012.

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Abstract In this article, I explore the reception of American “quality” serial television in Sweden from 1999 to the mid-2010s. My analysis includes how cultural critics and journalists writing for Sweden's leading newspapers conceptualised American serial television as “quality TV” and as legitimate “art”, and it charts the ways in which these discourses relate to the reconfiguration of Swedish television from public service monopoly to niche-oriented multichannel system. The analysis uncovers a process of cultural consecration that was based on comparisons with already consecrated art forms, applications of authorship discourses that promote certain individuals as genius television auteurs, and deployment of critical protocols borrowed from literary criticism – all in service of pre-established cultural hierarchy and “good taste”. This article also highlights the ubiquity of American quality serial television across the Swedish television landscape, which suggests that such programmes represent both a niche product and a mass phenomenon with extensive reach and multidimensional appeal.

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Jicheng, Cong. "Application of data driven 3D animation special effects in movie advertisements: history of the issue." OOO "Zhurnal "Voprosy Istorii" 2023, no. 7-1 (July 1, 2023): 214–21. http://dx.doi.org/10.31166/voprosyistorii202307statyi28.

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The new media era has created favourable conditions for the dissemination of film and television advertisements. This article first analyzes the advantages of applying 3D animation technology to film and television advertisements, and then the shooting and performance techniques of applying 3D animation art to film and television advertisements.

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Usmanova, Barno S. "FOUNDER OF DOCUMENTARY-FICTIONAL PROGRAMS ON ART BROADCASTED ON UZBEK TELEVISION CHANNELS." American Journal Of Social Sciences And Humanity Research 02, no. 09 (September 1, 2022): 11–14. http://dx.doi.org/10.37547/ajsshr/volume02issue09-03.

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The work of Shakhnoza Amirova, the first creator of programs about visual art, culture, and talented artists of Uzbekistan, “Honored Cultural Worker of the Republic of Uzbekistan” will be discussed. It is impossible to imagine the development of the country without talented people in the cultural life of Uzbekistan. And television is a miracle that delivers these representatives to the audience.

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Abuhasirah, Ramez. "1658-838X." Humanities and Management Sciences - Scientific Journal of King Faisal University 22 (2021): 1–9. http://dx.doi.org/10.37575/h/art/210031.

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The study aimed to identify the levels of credibility of Jordanian government and private television channels, and their degrees of commitment to the criteria of credibility, during the Coronavirus (COVID-19) crisis. It also aimed to reveal the degrees and types of changes in the credibility ratings of these channels before and during the crisis. The study relied on surveying the media audience as a research method, and it used a questionnaire as a data collection tool. The study sample represented a cross section of all Jordanians who were 18 years of age or older; a quota sample of 420 respondents was selected, divided equally among the three regions of Jordan (North, Central, and South). The results of the study showed that the most important credibility criteria adhere to by Jordanian government and private television channels were these: ‘depending on media professionals with experience and high competence’, ‘working for the public good’ and ‘relying on professional and ethical principles’. The government channel AlMamlaka topped the list of Jordanian television channels with the highest credibility among respondents. Roya Channel was shown to be the Jordanian television channel with the highest change in credibility ratings during the Coronavirus crisis.

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32

Connolly, Maeve. "European Television Archives, Collective Memories, and Contemporary Art." Velvet Light Trap 71 (March 2013): 47–58. http://dx.doi.org/10.7560/vlt7106.

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33

Merrin, William. "Television is Killing the Art of Symbolic Exchange." Theory, Culture & Society 16, no. 3 (June 1999): 119–40. http://dx.doi.org/10.1177/02632769922050647.

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34

Fadly Sabran, Mohamad. "Video Art as a Propaganda Medium of the Socio-Politics." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 25–31. http://dx.doi.org/10.33093/ijcm.2020.1.1.4.

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Television is a popular medium that is used as a propaganda tool in spreading ideologies. As such, the continuous propagation of ideologies through television fiddles with the sentiment of the public over time. This is obvious through various media campaigns that was broadcasted through television during the 14th general election of Malaysia in 2018. These media campaigns propagate the idea of ‘change’ by presenting audio-visual information that instigates a euphoric reaction. ‘Beauty (fool) of destruction’ is an experimental video art prompted by such propagation and its effect on society.This essay discusses the creation of the video work and its adaptation of the Malay proverb ‘Indah Khabar dari Rupa’ as a reaction to the political campaigns of the 14th general election. Specifically, it examines video as an avenue for responding towards the wield of ideology on electronic media and as a medium of expression for new forms of art making

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Wang, Siyuan. "Analysis on the Art Skills of Editing Radio and TV News in the Era of Financial Media." Insight - News Media 2, no. 1 (June 2, 2020): 22. http://dx.doi.org/10.18282/inm.v2i1.317.

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<p>Under the background of the new era, network technology, information technology and new media technology have been applied to various fields, effectively promoting social progress and industry development. In particular, the application of big data, cloud computing and multimedia technology in the radio and television industry not only accelerates the speed of information transmission and increases the number of information dissemination, but also truly realizes information sharing and promotes the sustainable development of the radio and television industry. Under the background of the new era, the information collection and processing technology and editing technology in the radio and television news industry have been improved, which also puts forward new requirements for the editing skills of radio and television news. Based on the author's own news practice, through analyzing the editing skills of radio and television news in the new era, the author puts forward some thoughts and countermeasures to provide useful reference for more radio and television news from the north.</p>

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Nugroho, Adi Suryo, Titik Maslikatin, Sunarti Mustamar, and Zahratul Umniyyah. "DIMENSI METAVERSE DALAM NOVEL DAN SERIAL ANIME SWORD ART ONLINE: KAJIAN EKRANISASI." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 24, no. 2 (July 11, 2023): 303. http://dx.doi.org/10.19184/semiotika.v24i2.41068.

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Reki Kawahara's Sword Art Online novels have been ecranized into a television anime series, going from four volume novels to 25 episodes. However, in this article the material object is a twovolume novel which is ecranized into 14 episodes. This research using qualitative method aims to understand the changes that occur from the novel version to the television series version by using the theory of ecranization. The results of the study show that in the ecranization process there are three changes, namely shrinking, adding, and varying changes. These three changes had positive impacts, including the sequencing of episodes which made it easier for viewers who had not read the novel version to understand, and the television series version could be enjoyed by more viewers. The novels and television series Sword Art Online provide an overview of the metaverse technology created by Mark Zuckerberg by combining the real and virtual worlds. The work has affinities with metaverse concepts such as 3D virtual space, avatars, and full immersion. However, the sophistication of this technology has received criticism because it has the potential to cause addiction to the virtual world.

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Ushanov, Pavel V. "The Specificity of the Genesis of the National Television Series as an Original Cultural-Informational Phenomenon." ICONI, no. 4 (2020): 73–80. http://dx.doi.org/10.33779/2658-4824.2020.4.073-080.

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The article is devoted to the study of the formation of the television series as an independent cultural phenomenon, as well as a multifunctional means of mass communication. Based on the concept of Vladimir S. Sappak, the author examines the television series not simply as a form of the existence of art cinema in the space of television, but as a new cultural phenomenon which arose and continues to develop under the infl uence of a whole complex of types of visual culture and art. While studying the genesis of the television series, the author traces the process of the formation of the fi lm series as one of the basic components of the television series, which was also infl uenced by such types of visual popular culture as popular print and comics. Revealing the specifi city of the genesis of the television series, the author turns to Victor B. Shklovsky’s idea of defamiliarization as an artistic device aimed at creating a special perception of the subject by the audience. As a specifi c feature of the modern television series, the high degree of its dynamism distinguishes itself, the latter being due to the constant exchange of information with objects that also accumulate social information. Therefore, the television series becomes a space where the convergence of documentary and artistic communication fl ows is actively taking place. The results of this convergence can be attributed to the formation in the post-Soviet space of a unique phenomenon — a politically engaged television series.

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Ryan, John, and Deborah A. Sim. "When Art becomes News: Portrayals of Art and Artists on Network Television News." Social Forces 68, no. 3 (March 1990): 869. http://dx.doi.org/10.2307/2579358.

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Ryan, J., and D. A. Sim. "When Art Becomes News: Portrayals of Art and Artists on Network Television News." Social Forces 68, no. 3 (March 1, 1990): 869–89. http://dx.doi.org/10.1093/sf/68.3.869.

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Shuster, Martin. "Rewatching, Film, and New Television." Open Philosophy 5, no. 1 (December 14, 2021): 17–30. http://dx.doi.org/10.1515/opphil-2020-0163.

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Abstract Those of us who are captivated by new television (the sort of serialized television that began largely in the early 1990s), often find ourselves rewatching episodes or whole series. Why? What is the philosophical significance of the phenomenon of rewatching? In what follows, I engage with the ontology of television series in order to think about these questions around rewatching. I conclude by reflecting on what the entire discussion might suggest about the medium of new television, about ourselves, and also about our world and the possibilities of art in it.

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Chu, Yingying. "Construction of AR and VR Children's Film and Television Education Curriculum System Based on 5G." Lecture Notes in Education Psychology and Public Media 20, no. 1 (October 26, 2023): 37–46. http://dx.doi.org/10.54254/2753-7048/20/20231470.

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Film and television (including digital media art) will be explicitly included in the Chinese Compulsory Education Curriculum Plan and Curriculum Standards in 2022, according to the Chinas Ministry of Education. With the advancement of science and technology, significant changes in film and television production and communication have occurred.5G, AR, and VR technologies are reshaping film and television language expression techniques, presentation forms, and viewing methods. As a result, it is necessary to combine the current development trend of film and television technology, comprehend the science and technology of film and television, master the new expression of film and television language, cultivate children's media literacy as the goal, and build the curriculum system of contemporary children's film and television education, in order to promote the implementation of the curriculum plan and curriculum standards of film and television education.

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Wedell, George. "Prospects for Television in Europe." Government and Opposition 29, no. 3 (July 1, 1994): 315–31. http://dx.doi.org/10.1111/j.1477-7053.1994.tb01224.x.

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The Classical Model for Broadcasting Structures in Europe is one based on national autarchy and linguistic exclusivity. The model derives from the introduction of radio broadcasting in the 1920s. As always in the field of communications, developments art supply-led rather than demand-led. Thus the early radio manufacturers established local radio stations to demonstrate their new equipment at a time when governments had not formulated any policies to deal with the new phenomenon.

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Schwendener, Martha. "Vilém Flusser's Seventies: Phenomenology, Television, Cybernetics, and Video Art." Afterimage 45, no. 5 (September 1, 2018): 22–28. http://dx.doi.org/10.1525/aft.2018.45.5.22.

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Vogan, Travis. "LeRoy Neiman and the Art of Network Sports Television." American Art 30, no. 3 (September 2016): 54–75. http://dx.doi.org/10.1086/690266.

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Smith, Greg M. "Streisand Shops the Museum Store Consuming Art on Television." Journal of Popular Film and Television 30, no. 1 (January 2002): 63–68. http://dx.doi.org/10.1080/01956050209605560.

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Holdsworth, Amy, Rachel Moseley, and Helen Wheatley. "Memory, Nostalgia and the Material Heritage of Children’s Television in the Museum." VIEW Journal of European Television History and Culture 8, no. 15 (October 27, 2019): 111. http://dx.doi.org/10.18146/2213-0969.2019.jethc168.

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‘The Story of Children’s Television, from 1946 to Now’ was an exhibition co-conceived by the authors and colleagues from the Herbert Art Gallery and Museum in Coventry, UK, running from 2015 to 2017 through a national tour. At the exhibition, objects from children’s television history sat alongside screens showing the programmes to visitors. Our research explores how children’s television culture operates as a site of memory and nostalgia, through which we can investigate forms of (inter)generational cultural memory. This paper explores the reconnections and disconnections that emerge in encounters with the material heritage of children’s television in Britain.

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Elliott, Andrew B. R. "The Charm of the (Re)making: Problems of Arthurian Television Serialization." Arthuriana 21, no. 4 (2011): 53–67. http://dx.doi.org/10.1353/art.2011.0035.

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Shi, Zheyu, and Lingyu Li. "A Study on the Aesthetic Characteristics of Documentary Films in the Internet Communication Environment." Advances in Education, Humanities and Social Science Research 9, no. 1 (January 9, 2024): 64. http://dx.doi.org/10.56028/aehssr.9.1.64.2024.

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The advent of the Internet era leads to the combination between the new media channel and the film and television art including documentaries, which greatly effects the online and offline features of the film and television art. Thereinto, the Internet communication leads to the transmutation of documentaries in many dimensions. In the paper, the aesthetic features of documentaries in the Internet communication are systematically combed and theoretically analyzed from authenticity, delicacy, inclusiveness, popularity and innovation. And, it is tried to provide a kind of thinking for the Internet communication and the popular acceptance of documentaries through the combing, the analysis and the research.

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Kokhan, Tymofii. ""Episode — series — series products" as structural components of modern culture." Culturology Ideas, no. 22 (2'2022) (2022): 38–45. http://dx.doi.org/10.37627/2311-9489-22-2022-2.38-45.

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It is argued that from decade to decade Ukrainian humanities are actively expanding the research space, discovering new, theoretically important "problem areas", the understanding of which may have prospects by using the potential of cultural analysis, including factors such as "interdisciplinarity", "personalization" and "dialogue". These include a range of issues related to the specifics of the "series". It is noted that due to the involvement of the concept of "paradigm" in the analysis of the situation in the field of art, the facts of partial or complete change, especially patterns of thinking in motion from film to TV series and from cinema to television. It is stated that the interest in television in general and the "television series" in particular intensified during the '70s and '90s. This was due to a number of reasons, including the rapid entry into the space of humanitarian knowledge of cultural studies. As a unity of history and theory of culture, it prompted a revision of the research orientation of the traditional humanities. It is noted that the ability to record the transformation of "film — series" encourages the use of art history dimension of culturology — a science that represents a combination of three components: theory, history and art criticism. At the same time, the history of art is seen as a procedural phenomenon, as it accumulated gradually: art forms were formed not simultaneously but over the centuries, entrenched in the dynamic movement of artistic development of reality.

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Bezruchko, Oleksandr, and Volodymyr Bardyn. "Presentation of the Sacred Heritage of Boikos by Means of Audiovisual Art." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 38–45. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256950.

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The purpose of the study is to analyze the coverage of the Boiko church heritage in live-action films and documentary films, in mass media and in photographs. To determine the role of audio-visual art in the coverage of sacred objects of Boikivshchyna and to prove the necessity to preserve works of sacred heritage by means of photo art. The researh methodology consists in the application of the following methods: theoretical – the analysis of television plots and documentaries providing information about the church art of Boikivshchyna, synchronous and comparative method for deeper analysis of film adaptations of M. Gogol’s work, generalization of media influence on the formation of public opinion. Scientific novelty. For the first time the reflection of audiovisual means has been analyzed and a detailed analysis of documentaries, film adaptations, television reports and photo exhibitions representing the church art of the Boikos has been made. The factors influencing the importance of the popularization of sacred heritage have been defined. Conclusions. In the article, we have analyzed the coverage of the church heritage of Boikos in live-action films and documentary films, in mass media and in photographs. With the help of the analysis of television plots and documentaries, the role of audiovisual art in the coverage of sacred objects has been defined. The factors influencing the preservation of works of church heritage have been studied and generalized in detail.

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