Relevant bibliographies by topics / Television Drama

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Television Drama'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Television Drama"

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Park, Noh-Hyun. "The Journal of Korean Drama and Theatre and Television Drama: Focusing on Quotation of Lines/Scenes in Research on Television Drama." Korean Society of Culture and Convergence 44, no. 10 (October 31, 2022): 1119–33. http://dx.doi.org/10.33645/cnc.2022.10.44.10.1119.

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The Journal of Korean Drama and Theatre published by the Learned Society of Korean Drama and Theatre is the most representative journal for research on Korean television dramas as a kind of drama act. The number of theses that have been gathered by a total of 75 journal series is as many as 615, which have been issued until 2020, since 1991 when it was launched. Of them, the theses on television dramas began to be initially published by the 21th series issued in 2005, and then 76 theses investigated by 35 researchers are currently published. The scenes beyond/post sheet, which appear in television dramas as image literature, become main texts, due to the genre characteristics. Lines and scenes in screens are naturally mobilized for any quotations. The current research on television dramas, however, do not give any academic guidelines regarding the quotation of lines and scenes. This paper, therefore, attempts to provide a direction of examining the current conditions of the lines and scenes quoted by research on television dramas based on 76 theses gathered in The Journal of Korean Drama and Theatre and helping both the society and the journal improve them. The measure may be largely specified as five proposals. The key point of them lies in the essence of the quotation properly certified by research, in other words, the practice of it, which make it possible to realize scholarly conversations with academic value.
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Gozansky, Yuval. "Fifty Years of Drama on Israeli Children’s Television." Israel Studies Review 33, no. 2 (September 1, 2018): 123–47. http://dx.doi.org/10.3167/isr.2018.330208.

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This article analyzes the changes in drama series in the first five decades (1966–2016) of Israeli children’s television. Based on interviews with 27 central producers, this cultural-historical study seeks to explain the significance attributed to children’s drama over the years. Early children’s drama series in Israel were instructional or educational, but they also sought to control the representation of childhood under the direct supervision of the state. The neo-liberal privatization process in Israeli society led to the creation of locally produced, Hebrew-speaking daily dramas on private channels for children. In the multiscreen environment created by the age of multichannel television and digital media, original Israeli daily drama shows functioned as a central branding tool for children’s channels. The article contends that these shows became one of the producers’ key answers to the changes in children’s viewing habits and, more particularly, linear television’s strategy for success in a world of multiple online screens.
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Tarrant, Arthur. "Television drama." Physics World 11, no. 11 (November 1998): 18–20. http://dx.doi.org/10.1088/2058-7058/11/11/21.

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Cooke, Lez. "A ‘New Wave’ in British Television Drama." Media International Australia 115, no. 1 (May 2005): 23–32. http://dx.doi.org/10.1177/1329878x0511500104.

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In recent years, American television drama series have been celebrated as ‘quality television’ at the expense of their British counterparts, yet in the 1970s and 1980s British television was frequently proclaimed to be ‘the best television in the world’. This article will consider this critical turnaround and argue that, contrary to critical opinion, the last few years have seen the emergence of a ‘new wave’ in British television drama, comparable in its thematic and stylistic importance to the new wave that emerged in British cinema and television in the early 1960s. While the 1960s new wave was distinctive for its championing of a new working-class realism, the recent ‘new wave’ is more heterogeneous, encompassing drama series such as This Life, Cold Feet, The Cops, Queer as Folk, Clocking Off and Shameless. While the subject-matter of these dramas is varied, collectively they share an ambition to ‘reinvent’ British television drama for a new audience and a new cultural moment.
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Kanaker, Osama, and Zulkiple A. Ghani. "BROADCASTERS’ PERCEPTION OF TELEVISION PROGRAMS: A STUDY ON AL-HIJRAH ISLAMIC MALAYSIAN TELEVISION CHANNEL." ‘Abqari Journal 13, no. 1 (January 18, 2019): 7–17. http://dx.doi.org/10.33102/abqari.vol13no1.52.

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This paper identifies four main characteristics of Islamic television programs. They are reality and objectivity, comprehensiveness, moderation and application of Islamic distinctive features. A questionnaire was distributed to the broadcasters of Al-Hijrah Television to determine their perception on the characteristics of applying the aforementioned characteristics to their programs. Programs of Al-Hijrah Television were also observed to further investigate the application of the characteristics to Al-Hijrah Television programs. The main finding of this paper is that despite the satisfaction of Al-Hijrah Television broadcasters, the application of the four characteristics to Islamic television programs does not suffice the need of the audience. It was also found out that drama programs are more effective than traditional programs in delivering the Islamic message despite the rarity of Islamic drama. Keywords: characteristics, programs, Islamic television, Al-Hijrah Television. Abstrak Kajian ini mengenal pasti empat ciri utama program televisyen Islam. Antaranya adalah realiti dan objektiviti, komprehensif, kesederhanaan dan ciri-ciri Islam yang tersendiri. Satu borang soal selidik telah diedarkan kepada semua penyiar Al-Hijrah untuk menentukan persepsi mereka terhadap penggunaan ciri-ciri tersebut ke atas program mereka. Program - program Al-Hijrah juga telah dipantau untuk diteliti lebih lanjut lagi dalam mengaplikasikan ciri-ciri tersebut. Walaupun dapatan kajian ini dapat memberi kepuasan kepada semua penyiar Al-Hijrah, namun penggunaan empat ciri tersebut untuk program - program televisyen Islam masih tidak memenuhi kehendak penonton. Kajian mendapati bahawa program - program drama lebih berkesan berbanding program - program tradisional dalam menyampaikan mesej Islam walaupun kurangnya drama versi Islam. Kata kunci: ciri-ciri, program, televisyen Islamik, Televisyen Al-Hijrah.
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Tahir, Huma, and Dr Bushra H. Rehma. "Rethinking Gender Roles: Perception of Female Viewers of Pakistani Television Dramas." Journal of Peace, Development & Communication me 05, issue 2 (June 30, 2021): 177–84. http://dx.doi.org/10.36968/jpdc-v05-i02-16.

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Television drama is always an attraction for women. It has considerably contributed in defining gender roles to its viewers. This study was aimed to investigate that how females from different socioeconomic backgrounds perceive and interpret gender roles shown in Pakistani television drama. For data collection qualitative research strategy was applied. Data was collected by conducting eight focus groups. Each group consisted of eight participants (females) aged 20-40 years. Emergent themes from the data were non stereotypic representation of gender roles in Pakistani Television drama. This study concluded that tendency of Pakistani TV drama to redefine gender roles have contributed in conformity with the change in perception of female viewers interpreting gender roles shown in these dramas.
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Jacobsen, Ushma Chauhan. "Does subtitled television drama brand the nation? Danish television drama and its language(s) in Japan." European Journal of Cultural Studies 21, no. 5 (January 29, 2018): 614–30. http://dx.doi.org/10.1177/1367549417751150.

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This article explores the relationships between nation branding, authenticity, language and their ideologies by considering two themes. First, how language ideologies and language practices texture the transnational production, distribution and viewing of subtitled television drama. Second, the extent and ways by which subtitled television dramas, in languages other than English, brand the nation to which they are associated. Using the context of increasing exports of Danish television drama to other nations, the article draws its empirical material from fieldwork interactions with industry professionals and viewers in Japan to consider both themes. The article proposes that there are different intensities by which Danish television dramas brand Denmark and the Nordic region; it discusses the implications of the use of English, and how branding the nation involves processes that are intrinsically fragile and require symbiotic relations with other languages and other nations to be successful. This article forms part of the Theorizing Media in Nation Branding Special Issue.
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Slater, D. "Hillsborough television drama." BMJ 314, no. 7084 (March 22, 1997): 901. http://dx.doi.org/10.1136/bmj.314.7084.901a.

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Mohammed Akram Abd Uljalil, Mohammed Akram Abd Uljalil. "Employing the mediator elements in the aesthetics of the television image through the children's drama: توظيف عناصر الوسيط في جماليات الصورة التلفزيونية عبر دراما الأطفال." مجلة العلوم الإنسانية و الإجتماعية 5, no. 11 (September 29, 2021): 50–33. http://dx.doi.org/10.26389/ajsrp.k090221.

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Given the importance of the subject of aesthetics of the television image in children's drama and its great impact in raising the level of artistic production of children's drama, and the interest of most satellite channels in this type of production that simulates different age groups for children, this research comes as a scientific attempt through which the researcher seeks to become familiar with the topic of the aesthetic of the television image in Children's drama, and its functions and all its parts in children's dramas, including dramas, cartoons, dolls, and children's cinema films, by analyzing scenes from different samples in order to reveal the aesthetics of the television picture and its parts and all its functions. Where the research in the first chapter reviewed the methodological framework indicating the introduction and problem of the research with an indication of the importance of the research and the extent of the need for it and its objectives, as well as identifying the definition of the search terms. Elements of cinematic language and its expressiveness and aesthetic connotations in children's drama, while the title of the second topic was the dramatic forms directed at children, through which the research reviewed the role of digital technologies and forms of drama, and the last topic represented the aesthetic of the artistic elements in children's drama, which was addressed through it to the directing artistic treatment and its aesthetics in Children’s drama, and the researcher came up with a set of indicators that were a tool for analyzing the research sample. Then the research reviewed the third chapter, which included the research procedures. The final chapter represented in the analysis of the research sample, through which he reached results, among which the works were distinguished by the simplicity of their events and the characters embodied in them that make the child He interacts with it being close to his reality. Among the conclusions that the aesthetic of the television picture is a means of conveying and expressing various contents through children's drama. Based on the foregoing, the research deals with an important aspect of the creative process in producing television drama for children, through the audio-visual medium, by identifying the aesthetics of the television image in children's drama.
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Hameed, Muhammad Basharat, Dr Babrak Niaz, and Dr Malik Adnan. "Turkish Television Drama in Pakistan: Effects on University Students." Issue-2 04, no. 02 (September 30, 2020): 376–97. http://dx.doi.org/10.36968/jpdc-v04-i02-019.

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This study attempts to investigate the effects of Turkish drama on University students. Drama plays influential role in changing life style of its audience. Through drama viewers come to know the diverse values of different cultures and it has a different effect on different audience. University level students are more expose to media especially with television drama and current study is an attempt to gauge the effects of Turkish drama on youth. The students of Punjab University Lahore, GC University Faisalabad, University of Gujrat and The Islamia University of Bahawalpur are selected as respondents. The study is qualitative and quantitative in nature and non-probability sampling technique is used for data collection. Questionnaires were distributed in 400 respondents and hypotheses were also constituted to envisage the general perception. The data collected through questionnaire accepted two hypothesis while on of the hypothesis was rejected. The study finding states that Turkish dramas are good source of entertainment but these dramas are not challenging basic teachings of Islam and it has made no effects on our norms. On the basis of findings, suitable recommendations are suggested.
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Dissertations / Theses on the topic "Television Drama"

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Jones, Denna Louise. "The television teen drama as folktale." Thesis, Nelson Mandela Metropolitan University, 2011. http://hdl.handle.net/10948/1471.

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In 1927 Vladimir Propp published a book in which he defined the characteristics and morphology of fairytales. His work was a groundbreaking one that forced scholars to question the way in which stories and storytelling affect the fabric of society and its ideals. Since 1927 much has changed with regards to the way in which stories are told. Technology has changed the way in which people interact and communicate with each other. Media conglomerates such as Walt Disney, Time Warner Company and News Corporation are driven to create stories and media that will deliver consumers to their advertisers. This paper sought to examine the way in which the teen drama has redefined the fairytale, and to establish whether Propp’s work on the morphology of fairytales can still be seen as valid today. Following an in depth literature review that sought to establish the foundations of fairytales, narratives, Propp’s morphology, the development of television as well as the teen television drama, the findings of this paper were established through a detailed content analysis of the first season of three modern teen television dramas – The O.C., One Tree Hill and Gossip Girl. The research found that while some of Propp’s functions may have been adapted to take on a more modern role and a few others became defunct, the majority of the functions of the dramatis personae could be found almost unchanged within the teen television drama. Gossip Girl, in particular demonstrated that it was highly aware of its allusions to the fairytale analogy with numerous references throughout its first season to fairytales such as Snow White and the Seven Dwarves, Cinderella and Beauty and the Beast. More than any of the other shows, Gossip Girl appeared deliberate in its references to the world of fairytales, a world in which the damsel in distress is always rescued by her knight in shining armour, and where monarchy reigns supreme. While humans have continued to evolve and the modes of storytelling have changed significantly since Propp first published his paper, the teen television drama has not yet redefined the characteristics of Propp’s morphology. At most it has modernised them making them relevant to the 21st century viewer.
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Wilding, Derek. "AIDS and pro-social television : industry, policy and Australian television drama." Thesis, Queensland University of Technology, 1998. https://eprints.qut.edu.au/36314/6/36314_Digitised%20Thesis.pdf.

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This thesis examines the intersection of popular cultural representations of HIV and AIDS and the discourses of public health campaigns. Part Two provides a comprehensive record of all HIV related storylines in Australian television drama from the first AIDS episode of The Flying Doctors in 1986 to the ongoing narrative of Pacific Drive, with its core HIV character, in 1996. Textual representations are examined alongside the agency of "cultural technicians" working within the television industry. The framework for this analysis is established in Part One of the thesis, which examines the discursive contexts for speaking about HIV and AIDS established through national health policy and the regulatory and industry framework for broadcasting in Australia. The thesis examines the dominant liberal democratic framework for representation of HIV I AIDS and adopts a Foucauldian understanding of the processes of governmentality to argue that during the period of the 1980s and 1990s a strand of social democratic discourse combined with practices of self management and the management of the Australian population. The actions of committed agents within both domains of popular culture and health education ensured that more challenging expressions of HIV found their way into public culture.
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Narasaki, Roxanne. "Drama." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/220.

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Warner, Kathleen Marie. "Historical theory, popular culture and television drama /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19144.pdf.

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Chaves, Ian M. "Crime Drama Television Programs: Educational or Not?" Youngstown State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1322858428.

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Clark, Shanoiya S. "Framing Female Leadership in a Television Drama." UNF Digital Commons, 2019. https://digitalcommons.unf.edu/etd/868.

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Stereotypes play a vital role in the perception of gender roles in American society. This concept is illustrated through low representation of female leadership in the U.S. Women are overrepresented in roles that are communal, which causes backlash when they display agentic traits (Arnold & Loughlin, 2019). Olivia Pope, the main character in the television series Scandal, was a leader who displayed an agentic leadership style and was revered for doing so. Agentic leadership traits are competitiveness, independence, and assertiveness (Arnold & Loughlin, 2019). This study analyzes how Olivia Pope was framed and the potential impact of those frames. Using frame analysis, Olivia Pope’s character in each episode of the television series Scandalwas analyzed. The analysis revealed that Olivia Pope’s character was framed using themes such as power, reverence, fixer, conflicted, sexualized and dysfunctional family dynamics. The framing of a character as rare as Olivia Pope is significant. Though Olivia Pope’s character is based on the life of an African-American woman who owned her own crisis management firm, many viewers would have never known this type of woman existed without the development of this show. Oliva Pope is a complicated character whose role in American television is progressive and has the power to expand its viewers’ perception of leadership.
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van, der Stelt Frank. "Location Based Augmented Reality for Interactive Television Drama." Thesis, Linköpings universitet, Institutionen för teknik och naturvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-97076.

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This thesis explores augmented reality (AR) for Java enabled consumer mobile phones for use in an interactive TV drama. The problems that are faced when dealing with limited processing power and memory constraints are examined and so are the minimum demands set on the telephones. A discussion of what AR is and where the development of mobile AR stands today is presented. Based on a dialogue with Swedish Television (SVT) and the evaluation of current mobile phones a possible solution is presented based primarily on the idea of visual 2D tags. Visual tags are machine readable codes storing information and properly designed they can be used for the extraction of location and orientation information. This makes augmentation with 3D synthetic objects theoretically possible. The mathematical ideas behind decoding these visual codes are explained. The use of common corner detectors was attempted as a solution of the stated problem. A short description of the theory behind corner detectors and some images of the results are included in this thesis. The thesis concludes with a discussion of the findings and of possible future work.
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Jacobs, Jason. "Early British television drama : aesthetics, style and technology." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.296562.

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Cooke, Lez. "Television drama in the English regions, 1956-82." Thesis, Manchester Metropolitan University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441002.

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Steward, Tom. "Authorship, creativity and personalisation in US television drama." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/35618/.

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This thesis examines the impact of writers, producers and directors on programming and production in several periods of US television drama history. I address the role authorship plays in shaping US television drama aesthetics and how creativity functions within its production cultures. I also address the personalisation of programmes through media and textual visibility and the place of authorship within the commercial and industrial contexts of US network television. My methodology involves textual analysis of a large viewing sample of programmes and a combination of archival research into original production documentation and analysis of US TV coverage in newspapers, magazines and trade journals. The thesis is divided into four case studies, each looking at the spaces for authorship, creativity and personalisation in key historical moments of US TV drama production and programming: early 1950s anthology writers, producers and directors (e.g. Paddy Chayefsky, Fred Coe, Delbert Mann); anthology producer-hosts of the late 1950s (e.g. Rod Serling, Alfred Hitchcock); executive producers of the 1980s-2000s (e.g. Steven Bochco, Jerry Bruckheimer); and guest writers and secondary producers in the 1980s-2000s (e.g. David Mamet, David Chase). The thesis aims to debunk the critical notion that authorship is present only in boutique quality television or that authorship is purely an invention of branding strategies and suggests new formulations of US TV authorship specific to historical production contexts. The thesis extends the author paradigm to include multiple authorship and a range of production roles and also revises several historiographical assumptions about authorship, programming and production. The thesis offers a model of authorship studies in television studies which frees authorship from quality prescription. It addresses the issue of industrial collaboration and incorporates it into our understanding of TV authorship. I relocate authorship studies from cultural mythology to aesthetics and production analysis, and provide more medium and industrial specificity.
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Books on the topic "Television Drama"

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Thornham, Sue, and Tony Purvis. Television Drama. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-05478-4.

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Bignell, Jonathan, and Stephen Lacey, eds. British Television Drama. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137327581.

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Weissmann, Elke. Transnational Television Drama. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283948.

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Andrews, Hannah. Biographical Television Drama. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-64678-3.

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Hogg, Christopher. Adapting Television Drama. London: Palgrave Macmillan UK, 2021. http://dx.doi.org/10.1057/978-1-137-50177-6.

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Waade, Anne Marit, Eva Novrup Redvall, and Pia Majbritt Jensen, eds. Danish Television Drama. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40798-8.

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Cooke, Lez. British Television Drama. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-896-2.

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McElroy, Ruth, and Caitriona Noonan. Producing British Television Drama. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-57875-4.

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Bondebjerg, Ib, Eva Novrup Redvall, Rasmus Helles, Signe Sophus Lai, Henrik Søndergaard, and Cecilie Astrupgaard. Transnational European Television Drama. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62806-6.

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Hawes, William. Live television drama, 1946-1951. Jefferson, N.C: McFarland, 2001.

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Book chapters on the topic "Television Drama"

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Thornham, Sue, and Tony Purvis. "Representing Television Drama: Television Drama and its Critics." In Television Drama, 1–28. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-05478-4_1.

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Potter, Jeremy. "Drama." In Independent Television in Britain, 214–26. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-09907-8_12.

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Nelson, Robin, Mareike Jenner, Glen Creeber, Lisa Richards, Lez Cooke, Toby Miller, Lisa Richards, et al. "Drama." In The Television Genre Book, 16–72. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_2.

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Thornham, Sue, and Tony Purvis. "Stories and Meanings." In Television Drama, 29–73. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-05478-4_2.

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Thornham, Sue, and Tony Purvis. "Power and Subjectivity." In Television Drama, 74–110. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-05478-4_3.

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Thornham, Sue, and Tony Purvis. "Gender and Sexuality." In Television Drama, 111–49. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-05478-4_4.

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Thornham, Sue, and Tony Purvis. "The End of Representation? Television Drama and Postmodernism." In Television Drama, 150–81. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-05478-4_5.

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Cantrell, Tom, and Christopher Hogg. "Period Drama." In Acting in British Television, 209–68. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1057/978-1-137-47022-5_5.

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Waade, Anne Marit, Eva Novrup Redvall, and Pia Majbritt Jensen. "Transnational Television Drama? Lessons Learned from Danish Drama." In Danish Television Drama, 1–22. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40798-8_1.

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Salvato, Nick. "Closet television, queer Hooperman." In Closet Drama, 203–16. London ; New York, NY : Routledge, 2018. | Series: Routledge advances in theatre and performance studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315107394-11.

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Conference papers on the topic "Television Drama"

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Rankin, P. J. "Research into content generation - interactive drama." In IEE Colloquium on Interactive Television. IEE, 1995. http://dx.doi.org/10.1049/ic:19950961.

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Heiselberg, Lene, and Thomas Bjørner. "How to evaluate emotional experiences in television drama series." In ECCE'18: 36th European Conference on Cognitive Ergonomics. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3232078.3232093.

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Shi, Yaxin. "An Analysis of the Popularity of Thai Television Drama in China, 2014–2019." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.587.

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Liu, Xing. "The Teaching Upgrade of Drama, Film and Television Under the Background of New Liberal Arts." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.187.

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Luo, Xin. "Exploration of Image-building and Cultural Dissemination in Films and Television Drama from the Perspective of Regional Culture." In 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.23.

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Leng, Jiaoyi. "On the Role of Main Melody Film and Television Drama in the Cultivation of the Values of Sea-related College Students." In CIPAE 2021: 2021 2nd International Conference on Computers, Information Processing and Advanced Education. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3456887.3456994.

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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.

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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).
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Lu, Bo-yang, Ji Li, Yin-zhu Chen, and Hang Xu. "Evaluation the Television Dramas Ranking Using the Bayes' theorem." In 3rd Annual International Conference on Social Science and Contemporary Humanity Development (SSCHD 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/sschd-17.2017.31.

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Wang, Wanjun, Xintao Ding, Chao Liu, and Jinghua Wu. "The Classic Television Dramas Restoration Based on Super Resolution." In 2021 International Conference on Computer Information Science and Artificial Intelligence (CISAI). IEEE, 2021. http://dx.doi.org/10.1109/cisai54367.2021.00208.

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Borch, Njål, and Ingar Arntzen. "Client Side Dynamic Aspect Ratio Based on Automated AI Analysis." In 3rd International Conference on Machine Learning Techniques and Data Science (MLDS 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.122109.

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Media is to a large extent consumed on devices that have non-standard aspect ratios, both physically or while rendering content. For example, social media platforms, televisions, tablets, and android devices, most commonly utilise varying aspect ratios of 1, 16:9, 4:3/3:4, 16:9/9:16, respectively. Web pages tend to use responsive design and can therefore have almost any aspect ratio. As current solutions are static, multiple encoded versions of the content must be created to cater for different aspect ratios, increasing workload, storage space requirements and content management complexity. With this in mind, there is a case for client side dynamic aspect ratios that adapt suitably to the user's device to improve their viewing experience based on a common encoded version of the content. In this paper we make the case for a client side dynamic aspect ratio solution, present work on implementation and experimentation, and finally provide some insights into how such a system could be implemented and provided in real world systems. Our solution was tested on content provided by NRK, including both drama series and TV debates.
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Reports on the topic "Television Drama"

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Lotz, Amanda, Anna Potter, Marion McCutcheon, Kevin Sanson, and Oliver Eklund. Australian Television Drama Index, 1999-2019. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.212330.

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This report examines changes in the production and commissioning of Australian television drama from 1999–2019, a period marked by notable changes in the business of television in Australia and globally. More production companies now make drama in Australia; however, the fact that more companies share less than half the annual hours once produced raises concerns about sustainability. Several major Australian production companies have been acquired by foreign conglomerates and challenge the viability of domestic companies that lack access to international corporate capital and distribution. The decrease in adult drama hours commissioned by commercial broadcasters has reshaped Australian television drama more than any other change. The national broadcasters have increased their role in commissioning, particularly in children’s drama. Titles have not decreased nearly as significantly as the number of episodes per series. Commercial broadcasters’ drama decreased from an average of 21 episodes per title in 1999 to seven in 2019, a 60 per cent decrease that, along with the increasing peripheralization of soaps, has diminished available training grounds and career paths in the Australian scripted production industry.
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Chamorro Maldonado, MA. Television audience and memory: the case study of the Chilean drama series Los archivos del cardenal. Revista Latina de Comunicación Social, April 2018. http://dx.doi.org/10.4185/rlcs-2018-1276en.

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