Relevant bibliographies by topics / Television production companies

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

Academic literature on the topic 'Television production companies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Television production companies"

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Spicer, Andrew, and Steve Presence. "Autonomy and Dependency in Two Successful UK Film and Television Companies: An Analysis of RED Production Company and Warp Films." Film Studies 14, no. 1 (2016): 5–31. http://dx.doi.org/10.7227/fs.14.0002.

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This article analyses the production cultures of two film and television companies in the United Kingdom – RED Production and Warp Films – by discussing the companies formation and identity, aims and ethos, internal structures and their networks of external relationships. The article argues that although managing directors and senior personnel exercise considerable power within the companies themselves, the companies depend on the extent to which they are able to engage with other industry agents, in particular the large-scale institutions that dominate the film and television industries. By s
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Payne, Alison. "‘The growing practice of calling in continental film groups’." VIEW Journal of European Television History and Culture 6, no. 11 (2017): 70. http://dx.doi.org/10.18146/2213-0969.2017.jethc124.

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While the development of commercial television advertising in Britain is often framed in the context of the American model, this paper will argue that London advertising agencies looked across the Channel to French and Dutch production companies and personnel, particularly in the first five years of commercial television, from 1955-1960. Using case studies, this paper will illustrate the involvement of these Continental companies and personnel on the production of advertising films for British commercial television, and identify the reasons why they were replaced by their British counterparts
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Doyle, Gillian, and Kenny Barr. "After the gold rush: industrial re-configuration in the UK television production sector and content." Media, Culture & Society 41, no. 7 (2019): 939–57. http://dx.doi.org/10.1177/0163443719857640.

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Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-b
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Doyle, Gillian. "Television production: configuring for sustainability in the digital era." Media, Culture & Society 40, no. 2 (2017): 285–95. http://dx.doi.org/10.1177/0163443717717634.

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Over recent years leading independent television production companies in the United Kingdom and elsewhere in Europe have become prime targets for corporate activity, and many have been subject to takeover, often by US media groups. Why is it that nurturing the development of television production companies which achieve scale but, at the same time, remain independent appears to be so challenging? This article considers which factors are crucial to the success of television production businesses and argues that, besides the ability to make compelling content, two key variables which strongly af
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Yoedtadi, Moehammad Gafar, Riris Loisa, Genep Sukendro, Roswita Oktavianti, and Lusia Savitri Setyo Utami. "ANALISIS KOMODIFIKASI KONTRIBUTOR DALAM PRODUKSI BERITA TELEVISI." Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 5, no. 1 (2021): 213. http://dx.doi.org/10.24912/jmishumsen.v5i1.9777.2021.

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The pattern of news production in the Indonesian television broadcasting industry generally uses two human resources, namely permanent journalists and temporary journalists. Regular journalists are organic employees of television companies. Meanwhile, journalists who are not permanent or contributors only work under a news sale and purchase contract. They are not the organic employees of the television company. They only get honorarium when the news airs. As a result of such a working relationship, the contributors' bargaining position is very weak in front of the television station management
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Doyle, Gillian. "Public policy, independent television production and the digital challenge." journal of digital media & policy 10, no. 2 (2019): 145–62. http://dx.doi.org/10.1386/jdmp.10.2.145_1.

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Television production is a vital component of the media and a sector whose performance has important cultural and economic ramifications. In the United Kingdom, the growing prosperity of the programme-making sector – attributable partly to historic policy interventions – is widely recognized as being a success story. However, a recent wave of corporate consolidation and takeovers, characterized by many leading UK production companies being bought out and often by US media conglomerates, has raised concern about the ability of the independent production sector to flourish in an increasingly glo
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Barra, Luca, and Massimo Scaglioni. "TV Goes Social." Convergent Television(s) 3, no. 6 (2014): 110. http://dx.doi.org/10.18146/2213-0969.2014.jethc074.

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In recent years, the Italian television scenario has become fully convergent, and social TV is an activity – and a hip buzzword – indicating both a rich set of possibilities for the audience to engage with TV shows, and an important asset developed by the television industry to provide such engagement, with promotional and economic goals. Mainly adopting the perspective of the production cultures of Italian broadcasters, the essay will explore the “Italian way to social television”, highlighting the strategies adopted by networks and production companies to encourage online television discours
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.

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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oak
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Bakøy, Eva, and Vilde Schanke Sundet. "‘Remember, it’s just television’." VIEW Journal of European Television History and Culture 6, no. 11 (2017): 53. http://dx.doi.org/10.18146/2213-0969.2017.jethc123.

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This article discusses the corporate strategy of one of the most successful television production companies in Norway: Rubicon TV. Based on a historical analysis from the company’s establishment in the early 1990s until today, the article illuminates how Rubicon TV has navigated in and contributed to the changing Norwegian television landscape. Rubicon TV has gone from a supplier of popular and provocative programmes to a small group of Norwegian broadcasters to a truly digital and global industrial force which produces linear ‘flow’ programmes as well as web-TV and streaming series for both n
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Christian, Aymar Jean. "Expanding production value: The culture and scale of television and new media." Critical Studies in Television: The International Journal of Television Studies 14, no. 2 (2019): 255–67. http://dx.doi.org/10.1177/1749602019838882.

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Web, or networked, distribution technologies have challenged the power of US media corporations, which set high technical standards for production value, a measure of content quality. Legacy TV companies privilege complex, seamless technical execution supported by large crews of workers – lighting, sound, design, visual effects – but exclude as producers culturally marginalised creators perceived as too risky for the big investment necessary to execute it. The internet disrupts these dynamics by allowing for the distribution of smaller scale TV and video productions that are independently or i
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Dissertations / Theses on the topic "Television production companies"

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Suksai, Ousa, and n/a. "Media and Thai civil society: case studies of television production companies, Watchdog and iTV." University of Canberra. Communication, 2002. http://erl.canberra.edu.au./public/adt-AUC20050602.143439.

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The study concerns the inter-relationship between media reform and civil society in Thailand between 1995-2000. It examines case studies of two selected television organisations - the production company Watchdog and the broadcast channel Independent Television (iTV) - and analyses their internal production decision-making processes, their public affairs programs and their urban and rural audiences. Debates about civil society and media reform between 1995-2000 influenced the government's media regulation policies to the extent that more attention was paid to media freedom as intended by Articl
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Books on the topic "Television production companies"

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Who's Who in Television: Directors, Writers, Producers, the Networks, Major Television Studios, Production Companies, Pay/ Cable Networks,Distributors, Syndication Companies. Packard House Books,U.S., 1991.

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Nicolaides, Louis. Production Company/Ca: The Complete Guide to Commercial/Industrial Production Companies in California. Production Books, 1985.

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Louis, Nicolaides, and Production Books Inc, eds. The Production company, CA: The complete guide to commercial/industrial production companies in California. 2nd ed. Production Books, 1986.

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Kathleen, Wells-Anderson, and Production Books Inc, eds. The Production company/CA: The complete guide to commercial/industrial production companies in California. 3rd ed. Production Books, 1987.

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Louis, Nicolaides, and Production Books Inc, eds. The Production company, CA: The complete guide to commercial/industrial production companies in California. Production Books, 1985.

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Gregg, Rodman. Who's Who in Television: Directors, Writers, Producers, the Networks, Major Television Studios, Production Companies, Pay/Cable Networks, Distributo. 4th ed. Packard Pub., 1998.

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Carter, Eli Lee. The New Brazilian Mediascape. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.001.0001.

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In this book, Eli Carter explores the ways in which the movement away from historically popular telenovelas toward new television and internet series is creating dramatic shifts in how Brazil imagines itself as a nation, especially within the context of an increasingly connected global mediascape. For more than half a century, South America’s largest over-the-air network, TV Globo, produced long-form melodramatic serials that cultivated the notion of the urban, upper-middle-class white Brazilian. Carter looks at how the expansion of internet access, the popularity of web series, the rise of in
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Vogan, Travis. Keeping the Flame in the Broadcast Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038389.003.0006.

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This chapter examines how broadcast television helped NFL Films transform pro football from a sport that appeared primarily on Sunday telecasts and evening news recaps into a spectacle that could be consumed throughout the entire week and year. It discusses NFL Films productions designed to augment and publicize exceptional National Football League (NFL) broadcast events, specifically the annual Super Bowl and ABC's Monday Night Football. It shows how NFL Films strengthened the NFL's relationship to television to attract television viewers (and sell advertising time) around the clock. The comp
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The official companion to the documentary Showrunners: The art of running a TV show. Titan Books Limited, 2014.

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Skeel, Sharon. Catherine Littlefield. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.001.0001.

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Born in Philadelphia in 1905, Catherine Littlefield first learns dancing from her mother, Caroline (called Mommie), who was an expert pianist, and from a local dancing master, C. Ellwood Carpenter. As a teenager, Catherine becomes a Ziegfeld dancer and takes lessons from Luigi Albertieri in New York. She returns home in 1925 to help Mommie teach at the Littlefield School (among her students is Zelda Fitzgerald) and stage dances for women’s musical clubs and opera companies. William Goldman hires Catherine to produce routines in commercial theaters throughout Philadelphia and becomes her boyfri
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Book chapters on the topic "Television production companies"

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Banks, Jack. "The Record Companies’ Role in Video Music Production and Distribution." In Monopoly Television. Routledge, 2018. http://dx.doi.org/10.4324/9780429498848-7.

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Barker, Thomas. "From Indie to Mainstream." In Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.003.0003.

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New creative work began to appear in the 1990s through television culminating in the breakthrough feature film Kuldesak (1998). It became the watershed for a new generation of young Indonesians to make their own films, often through an indie philosophy. At first being indie and independent were important values, but over time and with the regularisation of production, the need for consistent capital meant more filmmakers turned to big production companies for capital. A new accommodation between creativity and capital has become the dominant mode of production in the post-1998 film industry.
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Barker, Thomas. "Producing an Oligopoly." In Indonesian Cinema after the New Order. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528073.003.0007.

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Even with the entry of new filmmakers, production companies, and investors, the Indonesian film industry remains dominated by an oligopoly of old producers. In identifying this group, this chapter traces their connections back to the 1960s and their consolidation throughout the New Order. With significant presence in television production, these producers are both now wealthy and well-connected, allowing them to reassert themselves in the reformed post-1998 film industry. Largescale capital has been important to the systemisation of film production for the mainstream market but speaks to the legacy structures of the New Order.
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Tierney, Dolores. "Alejandro González Iñárritu: Mexican Director Without Borders." In New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0003.

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Chapter 1 analyses the cinematic transnationality of Iñárritu through an auteurist lens suggesting that his Mexican-produced Amores perros, US-produced 21 Grams, and Babel, and Spanish/Mexican co-produced Biutiful, problematise the notion of industrial and national borders and (for the deterritorialised productions) the assumption of political co-optation by a hegemonic mainstream cinema (Hollywood) because they share the same radical and alternative aesthetics and ideologies. The chapter traces continuities and critiques across the production contexts of Iñárritu’s films from Mexican independent (privately funded) cinema in Amores perros, to a complex institutional position including US independent distributors, European Government bodies, Spanish and Mexican production companies and Spanish and Catalan television companies in Biutiful. The chapter argues that the films’ ‘independent’, non-hegemonic funding structures and presence of a mostly unchanging core creative team facilitates the singular vision at the heart of the auteurist endeavour. The chapter’s analysis of Iñárritu’s first four transnationalised film projects (Birdman and The Revenant are analysed in the Epilogue) suggests that rather than purely imitate Hollywood or US traditions (as some scholarship suggests) his films embody a perspective aligned with Mexico, Latin America and more broadly the peoples of the Global South.
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Barrientos-Bueno, Mónica. "Netflix in Spain, Spain in Netflix." In Advances in Business Strategy and Competitive Advantage. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch023.

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The arrival of Netflix in Spain represents a complete revolution in the distribution and consumption of audiovisual content. The platform has not limited its offer to what is already available in its catalogue, but has boosted the international distribution of some Spanish productions, which were already available on local channels. At the same time the platform has established alliances with relevant production companies in Spain to create new products, providing them with the imprimatur of Netflix. The two-way relationship between Netflix and Spain, to which this chapter applies an ample and up-to-date analysis, offers an interesting glimpse at the penetration and influence of the one of the largest providers of video on-demand in the Spanish audiovisual panorama, which it is essential for understanding not only the sphere of Spanish television but also more broadly the European context.
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Regev, Ronny. "Disintegrating." In Working in Hollywood. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469636504.003.0008.

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The final chapter follows the decline of the studio system. Toward the late 1940s, political and economic factors such as the rise of television and changes in the tax code, pushed film production away from the studio system and towards a system based more and more on “spot production” or separate deals. Furthermore, the Paramount decision handed down by the Supreme Court ended vertical integration and eroded the power of the major film companies. Changes in labor practices followed, as demonstrated by the career of actors like Gino Corrado and producers like Hal Wallis. As the “stock-company” model ended, and the number of long-term contracts declined, new forces, particularly talent agents such as Lew Wasserman became the power brokers of the new Hollywood.
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Schwender, Alyssa D., and Christopher J. M. Leet. "Offshoring Entertainment and Media to India." In Outsourcing and Offshoring of Professional Services. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-972-4.ch007.

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This chapter explores opportunities for the offshoring of assorted processes in the global entertainment and media industry. Currently, this industry is experiencing incredible growth, much of it spurred by the increased digitalization of media production around the world. The rise of digital technology, faster global connectivity, an increased quality of downloads have been the driving factors behind this growth. The filmed entertainment, recorded music, and television networks and distribution sectors of the industry will undergo major technological changes in the coming years. These changes will provide opportunities for entrepreneurs to enter the global media industry. Using venture funding, startups are utilizing offshoring concepts to create a more efficient cost-effective means of doing business. The Asia Pacific market is currently the fastest-growing region, with India leading the way with offshoring of film functions. The industry will see a change from large media conglomerates as the sole owners of all media to smaller companies offering services, in which they specialize, to these larger companies, as digital media makes it easily accessible around the globe.
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Schwender, Alyssa D., and Christopher J. M. Leet. "Offshoring Entertainment and Media to India." In IT Outsourcing. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-770-6.ch144.

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This chapter explores opportunities for the offshoring of assorted processes in the global entertainment and media industry. Currently, this industry is experiencing incredible growth, much of it spurred by the increased digitalization of media production around the world. The rise of digital technology, faster global connectivity, an increased quality of downloads have been the driving factors behind this growth. The filmed entertainment, recorded music, and television networks and distribution sectors of the industry will undergo major technological changes in the coming years. These changes will provide opportunities for entrepreneurs to enter the global media industry. Using venture funding, startups are utilizing offshoring concepts to create a more efficient cost-effective means of doing business. The Asia Pacific market is currently the fastest-growing region, with India leading the way with offshoring of film functions. The industry will see a change from large media conglomerates as the sole owners of all media to smaller companies offering services, in which they specialize, to these larger companies, as digital media makes it easily accessible around the globe.
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Palmer, Landon. "All Together Now." In Rock Star/Movie Star. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.003.0003.

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Chapter 2 uses as its starting point United Artists’ diversification during the early 1960s via European film distribution as well as television and record production. This company’s varied commercial investments informed the way it attempted to incorporate the Beatles into feature filmmaking. Yet a transmedia approach to filmmaking also defined the Beatles’ efforts to distinguish themselves from the formulaic models that characterized the film careers of Presley and British rock ’n’ roll icon Cliff Richard. By forming an autonomous media company in Apple Corps., the Beatles sought a countercultural design of industrial convergence through which they could take authorship over their own media images, explore alternative forms of cultural production in film and music, and provide an ostensible platform for unconventional creative voices. As is evident in their discourse about Apple and their creative work during and after 1967, the Beatles viewed the moving image (in short- and feature-length modes) as essential to their pursuits in music. An ensuing dispute between United Artists and the Beatles effectively put to rest the Hal Wallis model of rock stardom on screen, as (at least) the appearance of creative autonomy became intrinsic to the ideology of rock. The case of the Beatles illustrates a distinctive break in the assumed power structure between rock stars’ ideas about cinema and those of the companies that represent and produce their image.
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Christian, Aymar Jean, and Khadijah Costley White. "One Man Hollywood: The Decline of Black Creative Production in Post-Network Television." In From Madea to Media Mogul. University Press of Mississippi, 2016. http://dx.doi.org/10.14325/mississippi/9781496807045.003.0007.

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Aymar Christian and Khadijah Costley White theorize Perry’s place in the television history, explicitly in the context of his niche production system and industrial marketing practices. Christian and Costley White critique Perry’s dominance in the televisual landscape and the numerous ways in which his direct control over his media entities has compromised not only his content but also his company’s ethics and labor practices. Given that Perry’s television successes occurred concomitant with the fragmentation of key media marketplaces and given the lack of structural changes surrounding his productions, Christian’s and Costley White’s chapter ultimately questions (and redefines) the extent to which Perry has truly been a game-changer in the television industry.
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Reports on the topic "Television production companies"

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Medina-Nieto, M., and A. Labio-Bernal. ‘Production companies’ concentration and international capital in commercial Spanish television: Antena 3 and TeleCinco. Revista Latina de Comunicación Social, 2019. http://dx.doi.org/10.4185/rlcs-2019-1361en.

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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
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