Academic literature on the topic 'Television feature stories – Fiction'
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Journal articles on the topic "Television feature stories – Fiction"
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Otto, Wojciech. "Filmowa franczyza. Od tematu do widowiska telewizyjnego (na podstawie cyklu „Prawdziwe Historie”)." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 26, no. 35 (December 15, 2019): 159–70. http://dx.doi.org/10.14746/i.2019.35.09.
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The TV series True Stories (Prawdziwe Historie) is an example of contemporary commercial cinema. It is located on the border of documentary film and an attractive version of fictional cinema. In specific circumstances, it can be treated as a commercial product, but not only in the sense of film production and distribution, but more broadly, as a recognisable brand on the domestic cinema market, containing all the elements of industry know-how, as well as significant and commonly seen features of a film style that guarantees both turnout and financial success. In a sense, therefore, this phenomenon can be considered in terms of a film franchise which offers creators, most often beginners, a proven business patent in the form of a coherent television series, but also giving the possibility of a safe feature debut and the space for creative exploration.
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Rueda Laffond, José Carlos, Carlota Coronado Ruiz, Catarina Duff Burnay, Amparo Guerra Gómez, Susana Díaz Pérez, and Rogério Santos. "Parallel Stories, Differentiated Histories." European Television Memories 2, no. 3 (June 30, 2013): 37. http://dx.doi.org/10.18146/2213-0969.2013.jethc030.
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Integrated into an international project on the characteristics of historical fiction on TV in Spain and Portugal during 2001–2012, the study traces the main aspects of these productions as entertainment products and memory strategies. Historical fiction on Iberian television channels express qualitative problems of interpretation. Its development must be related to issues such practices, meanings and forms of recognition, and connected with specific memory systems. The article explores a set of key–points: uses and topics of historical fiction; its visions through similarly proposals; polarization in several historical times, and its convergent perspectives about Franco and Oliveira Salazar as Iberian contemporary dictators.
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Hewitt, K. "Revealing Humanity: the Flexible Language of Literature." Bulletin of Kemerovo State University, no. 3 (October 27, 2018): 231–36. http://dx.doi.org/10.21603/2078-8975-2018-3-231-236.
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The article features the linguistic peculiarities of four novels the author uses in her course on Contemporary English Fiction: Hilary Mantel’s A Change of Climate, Jim Crace’s Quarantine, Graham Swift’s Last Orders, and Adam Thorpe’s Ulverton. The novels probe deeply into some of the stranger aspects of human experience. Hilary Mantel writes of people who try to behave as balanced, rational beings, but to whom irrational and terrible things happen that have to be dealt with. The metaphorical language illuminates this philosophical exploration, which would otherwise be dull or unconvincing. The novel might seem strange for English readers, but the language carries the conviction of the true storyteller. J. Crace has a wonderful sense of exact words for an exact rhythm. Graham Swift’s novel is written as though it were the thoughts and memories of seven different characters. The language here is the colloquial vernacular, the language of elderly and middle-aged men and women with little education from south-eastLondon. The most extraordinary book of these four is Adam Thorpe’s Ulverton. It consists of twelve chapters, which are a chronological set separate ‘stories’ that happened between 1650 and 1988. Each chapter uses a different literary genre for the story-telling: for example, a simple first-person narrative, a sermon, a journal, letters to a lover, lecture notes, an internal monologue, and – ending the novel – a television script. Thorpe has therefore set himself a colossal task: to render into lively readable English, the concerns and passions of individuals, often illiterate individuals, while retaining a sense of the language appropriate to a particular era and a particular genre.Literature is an act of communication between writer and reader which does justice to humanity through expressive, imaginative language. Nobody would be so arrogant as to say that reading literature is the only way of ‘being human’ but more than most activities it forces us to think about people other than ourselves.Readers who would like to read more have available many other fine examples of contemporary English literature, provided by the Oxford Russia Fund for those taking part in the project on Contemporary English Literature in Russian Universities.
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NIM, EVGENIYA G. "Bromance as a Masquerade: Adaptation and Reception of Chinese Danmei Fantasy." Art and Science of Television 18, no. 3 (2022): 105–43. http://dx.doi.org/10.30628/1994-9529-2022-18.3-105-143.
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The article discusses danmei (or boys love, BL), a fiction genre which occupies a special place in Chinese pop culture. Despite the fact that these entertainment stories are characterized by a love line between male characters, the authors and consumers of Chinese BL are primarily heterosexual women. Danmei has become popular not only in China itself, but also in many other countries, which adds relevance to the study of its reception by the Russian audience. First of all, this applies to web series television adaptations of network BL novels available to the world audience. The research focuses on a number of issues related to the production, adaptation, and consumption of danmei media content. What are the features of the genre and how does it differ from non-Chinese versions of BL? What makes danmei so attractive for women and how is the Chinese BL community structured? What strategies does the Chinese web series industry use to adapt primary sources and how do BL fans and a wider audience perceive these adaptations? The article shows the contradictions inherent in the danmei subculture: on the one hand, its proximity to the feminist and queer movements, on the other—its support for heteropatriarchal values. Special attention is paid to the analysis of the representative strategy of bromance used by Chinese producers in the TV adaptations of danmei novels under party-state censorship. In particular, I analyze the popular TV series S.C.I. Mystery (2018), Guardian (2018), The Untamed (2019), and Word of Honor (2021). Apart from de-erotizing the interactions of between the protagonists, these adaptations significantly modify the genre, plot, setting, and characters. At the same time, producers of the shows take into account the expectations of the multimillion army of danmei fans, leaving them certain opportunities for queer reading. In Russia, danmei by the web novelist Mo Xiang Tong Xiu are the most popular, as well as the fantasy web series The Untamed based on her novel Mo Dao Zu Shi. This case study of the multi-part online drama The Untamed reveal the three patterns of reception of the series by the Russian audience: bromantic, romantic and “fluid.” In conclusion, the challenges of conceptualizing danmei as a genre, subculture, and entertainment industry have been articulated.
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Kerrigan, Lisa. "Stories That Never End: Television Fiction in the BFI National Archive." Critical Studies in Television: The International Journal of Television Studies 5, no. 2 (September 2010): 73–76. http://dx.doi.org/10.7227/cst.5.2.9.
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Zunshine, Lisa. "The Secret Life of Fiction." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 724–31. http://dx.doi.org/10.1632/pmla.2015.130.3.724.
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A troubling feature of the common core state standards initiative (CCSSI) for english language arts (ELA) is its failure to recognize literature as a catalyst of complex thinking in students. According to the CCSSI, to “prepare all students for success in college, career, and life,” children must read texts “more complex” than “stories and literature” (“English Language Arts Standards”). The assumption that “stories” are inferior to nonfiction has a long tradition in Western culture; tapping into that prejudice is easy, and no proof seems to be required.
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Griffin, Grahame. "‘It was a Serious Kitchen Knife’: Witnessing and Reporting Horror Crime." Media International Australia 97, no. 1 (November 2000): 123–36. http://dx.doi.org/10.1177/1329878x0009700114.
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News reports of major crime can be linked to popular fiction genres. This linkage extends to the role of the crime witness and to the reporter as witness of crime and its aftermaths. It is argued that audience identification with witnesses and witnessing creates a ‘breathing space’ for reconsideration and reassessment of the crime. To illustrate how this might work in the reporting of horror and atrocity crimes, some newspaper ‘horror’ stories, and their relationship with horror fiction conventions, are discussed along with the television ‘eyewitness' reporting of international atrocity stories.
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Taylor, Cheryl. "Shaping a Regional Identity: Literary Non-Fiction and Short Fiction in North Queensland." Queensland Review 8, no. 2 (November 2001): 41–52. http://dx.doi.org/10.1017/s1321816600006826.
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Stories, anecdotes, and descriptive articles were the earliest publications, following the main wave of colonisation in the 1860s, to bring Queensland north and west of Proserpine to the attention of the national and international community. Such publications were also the main vehicle of an internal mythology: they shaped the identity of the inhabitants, diversified following settlement, and their sense of the region. The late date of settlement compared with south-eastern Australia meant that frontier experience continued both as a lived reality and as mythology well into the twentieth century. The self-containment of the region as actual and exemplary frontier was breached only with the arrival of television and university culture in the 1950s and 1960s.
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Jamar, Steven D., and Christen B’anca Glenn. "When the Author Owns the World." 2013 Fall Intellectual Property Symposium Articles 1, no. 4 (March 2014): 959–78. http://dx.doi.org/10.37419/lr.v1.i4.7.
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Fan fiction is amateur writing that imaginatively reinvents a work in pop culture while maintaining the identifiable aspects of the preexisting work. Fans of various books, films, and television series write their own versions of the stories and post them online in fan fiction communities. Fan fiction as practiced today is a way for fans to creatively express themselves and become integrated into the story and world they love. The stories range from highly derivative works, where relatively few plot points are changed, to entirely new plot lines using the same world and characters of the original, underlying work. Some provide backstories about existing characters, and some are more in the nature of sequels. Some are quite original works more in the nature of “inspired by” than “derived from.”
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Furnham, Adrian. "Remembering Stories as a Function of the Medium of Presentation." Psychological Reports 89, no. 3 (December 2001): 483–86. http://dx.doi.org/10.2466/pr0.2001.89.3.483.
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Participants (50 women, 35 men) either watched, listened to, or read a piece of fiction for television. An immediate cued recall test showed, as predicted, that the group who read the piece remembered more than either of the other two groups. This confirms previous findings on adults that recall of material presented in the print medium is superior to that from audio-only and audio-visual presentation.
Dissertations / Theses on the topic "Television feature stories – Fiction"
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Miller, Andrea Lynn. "The effects of live, breaking, and emotional television news on viewers' attention and memory /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099619.
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McRae, Madalyn Dawn. "Pop Creatures." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8752.
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This thesis is a short story collection revolving around the central theme of pop culture. The first story, "After the Win," follows the character Cecil, whose wife Rhonda has recently won The Great British Bake Off. Trouble ensues in Cecil and Rhonda's family as Rhonda starts to focus on her post-Bake Off fame instead of her relationships with her husband and daughter. "Making Friends with a Monster" is about Rick, a half-human, half-lake monster living on the shores of Bear Lake. Because of his existence in an in-between place between man and monster, Rick struggles to find companionship in life. That is, until Anna (AKA the Loch Ness Monster) arrives in his lake and presents him with an enticing offer: to return with her to Loch Ness. The story culminates in Rick's decision. The next story, "The Fourth Wall," is the story of Max and Abby, who are close to getting engaged. Max confronts Abby about her family, who she has never told him much about. Finally, she agrees to take him for a visit to meet her parents. As soon as Max arrives, it becomes apparent that Abby's parents believe they are Ricky and Lucy from the beloved sitcom I Love Lucy, and Max is soon sucked in to the illusion. The last story in the collection is "Feelin' Groovy in Point Pleasant, West Virginia,"which is the tale of a Simon and Garfunkel tribute band that encounters the legendary Mothman monster in Point Pleasant, West Virginia, who happens to be an avid Simon and Garfunkel fan.
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Laffont, Julie. "Représentations de la diversité dans les séries télévisées : analyse comparative France – Grande-Bretagne." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30006/document.
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Cette thèse interroge les représentations de la diversité et des identités collectives au sein de séries télévisées françaises et britanniques. Les problématiques de la construction identitaire, des imaginaires nationaux et médiatiques, ainsi que les différents imaginaires du métissage et de la communauté arabo-musulmane dans l’espace public européen, retiennent particulièrement l’attention ici. La pluridisciplinarité inhérente à l’approche choisie s’appuie sur la richesse des paradigmes et méthodologies propres aux Sciences de l’Information et de la Communication, ainsi qu’aux études médiatiques dans leur ensemble. Sont ainsi pris en compte les contextes de production (professionnels, techniques, législatifs, esthétiques et socio-politiques), mais aussi les pratiques et usages de réception. Toutefois, c’est bien l’analyse de contenu (aux niveaux figuratif, narratif et thématique) qui se trouve au centre de cette étude. Ce travail s’appuie principalement sur l’étude du personnage de fiction et une typologie des stéréotypes. Les réflexions menées empruntent également aux théories de l’imaginaire, aux études de réception et à la sémiotique du récit. L’hypothèse de départ est que les imaginaires nationaux britannique et français, l’un de tradition multiculturaliste, l’autre régit par l’idéal universaliste républicain, influencent les imaginaires collectifs et les constructions identitaires parmi les différentes communautés de citoyens. Les imaginaires médiatiques, en tant que transmetteurs et en tant qu’arènes des discours et opinions, participent de ce phénomène. Ces imaginaires nationaux laissent des indices parmi les représentations médiatiques, notamment au sein des fictions télévisées, qu’il est possible de repérer et d’analyser. Il ne s’agit pas ici d’opposer les deux modèles. Les cas français et britannique, s’ils diffèrent sur certains points, connaissent des questionnements et difficultés similaires. Les étudier simultanément permet de brosser un plus large tableau des possibles et de chercher d’éventuelles solutions en s’appuyant sur les expériences menées dans ces deux paysThis thesis examines representations of diversity and collective identities in French and British television series. The issues of identity construction, national and media imaginary, as also the various imaginary of interbreeding - or melting pot - and Arab-Muslim communities in the European public space, particularly hold attention. The pluridisciplinarity, related to our approach, benefit from the paradigmatic and methodological wealth of Information and Communication Sciences, as well as all of Media Studies. We thus take into account production contexts (professional, technical, legal, aesthetic and socio-political) but also reception uses and practices. However, it is the content analysis (at figurative, narrative and thematic levels) that is central to this study. We primarily rely on the study of fictional character and a stereotypes typology. We refer also to imaginary theories, reception studies and narrative semiotics. Our assumption is that the British and French national imaginary, one of multiculturalist tradition, the other governed by the ideal of Republican universalism, influence collective imaginary and identity construction, among the different communities of citizens. The media imaginary, as transmitters and arenas, for speeches and public opinions, participate of this phenomenon. These national imaginary leave clues within media representations, especially inside television dramas, that is possible to identify and analyze. It doesn’t matter of opposing these two models. French and British cases, if they differ on some issues, experience and survey similar difficulties. This simultaneous review helps to paint a wider landscape of possibilities, and to seek possible solutions, based on experiments in these two countries
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Kohaly, Dawn Felicity. "The Nollybook phenomenon." Diss., 2015. http://hdl.handle.net/10500/19843.
Full textBooks on the topic "Television feature stories – Fiction"
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Kulturmagazine: Ihre Gestaltung im Hessischen Fernsehen 1964-1974. Frankfurt am Main: P. Lang, 1995.
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ill, Manning Jane K., ed. The creature double feature. New York: HarperTrophy, NY, 1998.
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Die Nachrichtenerzähler: Zu Theorie und Praxis nachhaltiger Narrativität im TV-Journalismus. Baden-Baden: Nomos, 2009.
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Kenny, James. Making documentaries and news features in the Philippines. [Pasig City]: Anvil Pub., 1996.
Find full textBook chapters on the topic "Television feature stories – Fiction"
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Ryan, Susan. "Blurring Lines and Intersecting Realities in Barbara Kopple’s Fictional Work." In ReFocus: The Films of Barbara Kopple, 159–77. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0010.
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In addition to Barbara Kopple’s recognized contributions to documentary filmmaking, she directed several fictional works for both television broadcast and theatrical release. Although she often refers to herself as a director of both non-fiction and fiction, since both are important to her, very little critical attention has been paid to her fictional work such as the television episodes she directed for Homicide: Life on the Street, the PBS production Keeping On (1983), based on a screenplay by Horton Foote, and the independent feature Havoc (2005). This chapter examines the ways that she uses documentary techniques associated with cinema verite to establish a sense of place, character, realism, and social engagement within fictional stories. Rather than see her fictional work as an addendum to her acclaimed documentaries, the chapter argues that there is a continuum in which dramatic form and documentary practice inform one another as part of her style and approach to filmmaking.
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Hedling, Erik. "Chapter 14. Somewhere in Sweden: Quality Fiction and Popularized History in the World War II Television Series." In Nordic War Stories, 237–51. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781789209624-021.
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Felando, Cynthia. "Spike Jonze Shorts Stories." In ReFocus: The Films of Spike Jonze, 195–212. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0011.
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Cynthia Felando demonstrates the relevance and significance of Jonze’s narrative shorts in his larger filmography. Felando argues that these short films both reflect and enrich our understanding of Jonze’s auteurist preoccupations. The short film is treated as its own genre with important specificities, including several related to storytelling, narrative, character, and genre conventions that differentiate it from the feature-length film. The chapter’s aim is to establish the viability of contextualizing Jonze’s narrative shorts as shorts, and to demonstrate the value of an analytical approach that addresses their continuities with and differences from his feature-length films. Felando considers his narrative shorts in relation to discourses in the emergent area of short form media studies. The primary analytical focus is on Jonze’s fiction shorts, although his other shorts-related titles are cited to demonstrate the persistence of several of his recurring storytelling, character, and thematic strategies.
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Shackleford, Karen E., and Cynthia Vinney. "On Prejudice and Values." In Finding Truth in Fiction, 216–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190643607.003.0008.
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When it comes to race, gender, sexual orientation, and other social categories, current research continues to document a lack of inclusion and a tendency to stereotype in film and television. However, there are also signs for hope. The recent success of films like Wonder Woman, Black Panther, Crazy Rich Asians, and Love, Simon is sending a message to Hollywood that audiences are more than ready for underrepresented categories. For example, Grace and Frankie is a successful show that busts stereotypes about women in their 70s and tells stories about a family that includes an older gay couple, a Black son, a recovered drug addict, and other diverse characters. This chapter examines how stories like this help bring change and reduce prejudice. In addition, it discusses the recent accusations against famous people, including Bill Cosby, and how fans cope when a beloved celebrity falls from grace.
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Hitchcott, Nicki. "Introduction." In Rwanda Genocide Stories, 1–28. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381946.003.0001.
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In this introductory chapter, Hitchcott provides the reader with the ‘master narrative’, a thorough contextual overview of the events surrounding the genocide that are essential to the reader’s understanding. Hitchcott also explores the effect, or lack thereof, of the genocide on the West as it was being shown on television screens across the globe. Hitchcott establishes that, unlike the Rwandan government, her subsequent analysis will not be an attempt to reduce the genocide to one singular narrative, as this is impossible due to the breadth of experiences. Instead, her work is an analysis and comparison of the works of the ‘Ecrire par devoir de mémoire’ group and Rwandan-authored fiction in an attempt to shift the Eurocentric lens that has been used to examine the narratives of the genocide to date.
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Milner, Andrew, and J. R. Burgmann. "Cli-fi in Other Media." In Science Fiction and Climate Change, 171–89. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621723.003.0008.
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This chapter explores cli-fi in other print media (short stories, published poetry, comics and graphic novels), recorded popular music (folk and rock), and audio-visual media (cinema, television and videogames). It identifies rhetorically effective instances of cli-fi from a wide range of media, notably Carol Ann Duffy’s ‘Keep It in the Ground’, Brian Wood’s The Massive, Anohni’s Hopelessness, Franny Armstrong’s The Age of Stupid and Darren Aronofsky’s Noah. But it concludes, nonetheless, that it is in cli-fi novels and trilogies, especially those that deal with mitigation and negative or positive adaptation, that the major effort to respond to the climate crisis has taken shape. The more general conclusion, then, is that longer narrative forms seem best suited to climate fiction.
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Gordillo, Inmaculada. "The Mirror Effect and the Transparent City in Audio-Visual Non-Dramatic Fiction." In Advances in Business Strategy and Competitive Advantage, 30–42. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch003.
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In the past, there was always a clear delineation between fiction and the news or fiction and documentary film. Today, however, elements of crossover and hybridization it can be observed in most formats: reality and fiction, public and private, are intermingled. Life itself seeps into fictional accounts, approaching the eternal comedy. Digital formats permit the multiplication of stories and the democratisation of productions. They create a true amalgam of new and old hybrid products, such that comedy also infuses the non-fiction content. Social change is convincingly reflected in the stories that each collective elaborates and consumes. Today, without question, audiovisual stories offer a clear, in-depth analysis of all the social transformations in which we currently find ourselves immersed, therefore this chapter offers an exploration of the novel formats that are extended into the stories that are told on television and on the internet.
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Potter, Amanda. "Greek Myth in the Whoniverse." In Ancient Greece on British Television, 168–86. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0009.
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Along with 21st-century spinoffs The Sarah Jane Adventures and Torchwood, the iconic British science fiction series Doctor Who has engaged with Greek mythological characters and storylines across five decades. This chapter explores trends in this engagement. Troy and Atlantis are settings for the time-travelling Doctor inadvertently to set in motion events leading to their fall (‘The Myth Makers’, 1965, ‘Time Monster’, 1972), Medusa and the Minotaur are creatures in a fantasy world (‘The Mind Robber’, 1968) and stories of the Argonauts, the Minotaur and the Trojan War are set in space (‘Underworld’, 1978, ‘The Armageddon Factor’, 1979 and ‘The Horns of Nimon’, 1979-80). More recently, Greek mythological objects are cast as alien: e.g. Philoctetes (‘Greeks Bearing Gifts’, 2006), the Gorgon (‘The Eye of the Gorgon’, 2007), Pandora’s box (‘The Pandorica Opens’, 2010), the Minotaur (‘The God Complex’, 2011), and the Siren (‘The Curse of the Black Spot’, 2011). Evidence for the popularity of Greek mythology amongst contemporary viewers is discussed. By tracing shifting intersections between Greek myth and the ever-developing mythology of Doctor Who, this chapter considers how the long-running series anticipates, plays with and informs audience knowledge of Greek mythology, and spurs them on towards criticism and invention.
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Kirkland, Ewan. "Situating Starbuck: Combative Femininity, Figurative Masculinity, and the Snap." In The Woman Fantastic in Contemporary American Media Culture. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496808714.003.0005.
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Ewan Kirkland’s “Situating Starbuck: Combative Femininity, Figurative Masculinity, and the Snap” studies the action heroine in the reimagined Battlestar Galactica (2004-2009) television series. He argues that Starbuck exemplifies a transformation of the 1970s male action hero in post-Alien action adventure science fiction and fantasy, where women warriors increasingly feature as a generic staple. Situating Starbuck in relation to action heroines from film, television, and digital games as well as the academic arguments that circulate them affords an understanding of the gender politics of the character, and the extent to which she challenges dominant representations in popular culture.
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Whitehead, Kevin. "Movies within Movies and New Orleans Comes Back 2008–2019." In Play the Way You Feel, 293–338. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.003.0011.
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In the 2000s and 2010s, screen jazz stories explored new forms to tell a new century’s jazz stories—longform television included. The surreal comedy Be Kind Rewind critiques jazz narrative conventions, with a movie within a movie: a new trend in jazz pictures. Born to Be Blue depicts a Chet Baker biopic within the biopic. A Miles Davis biopic is configured as a self-contained double feature, dividing his charming and evil personas. Nina Simone and Joe Albany biopics likewise focus on lulls in their careers. Queen Latifah plays Bessie Smith in a sexually frank biopic. Damien Chazelle’s Whiplash is hysterical like a too-fast drum solo, and his La La Land echoes Scorsese’s New York, New York in various particulars. As the jazz film approached the music’s centenary on record, new stories keep harking back to early ones—even the earliest, drawing connections back to The Jazz Singer.