Relevant bibliographies by topics / Television productions

Contents

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

Academic literature on the topic 'Television productions'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Television productions"

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Torre, Paul. "Transnational Television Distribution and Co-Production Challenges." Canned TV Going Global 9, no. 17 (August 31, 2020): 43. http://dx.doi.org/10.18146/view.215.

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This article explores the production and distribution process for television co-productions and explains the potential benefits and risks compared to other media joint ventures, like television formatting. Using a detailed case study of one television series within a larger co-production agreement between a German rights trader and a Hollywood studio, the author analyzes production and distribution challenges and complex contractual arrangements within the context of global media trade. Co-productions are situated in between, and as a transition from, acquiring rights to canned television programs, and acquiring rights to television formats. The author contends that a range of difficulties in co-productions has contributed to a turn to television formatting, where the production process is more easily controlled and customized by the partner acquiring the property, leading to more predictable and successful distribution outcomes.
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Dunleavy, Trish. "A Soap of Our Own: New Zealand's Shortland Street." Media International Australia 106, no. 1 (February 2003): 18–34. http://dx.doi.org/10.1177/1329878x0310600104.

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Shortland Street is a prime-time soap opera that launched on New Zealand television in 1992 and was created to meet a combination of commercial and ‘public service’ objectives. Shortland Street is institutionally and culturally significant as New Zealand's first attempt at daily drama production and one of the first major productions to follow New Zealand television's 1989 deregulation. Placing Shortland Street in the context of national television culture and within the genre of locally produced TV drama, this paper explores several key facets of the program, including: its creation as a co-production between public and private broadcasting institutions; its domestic role in a small television market; its relationships with New Zealand ‘identity and culture’; its application of genre conventions and foreign influences; and its progress — as a production that was co-developed by Grundy Television — in a range of export markets.
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Ward-Griffin, Danielle. "Realism Redux: Staging ‘Billy Budd’ in the Age of Television." Music and Letters 100, no. 3 (August 1, 2019): 447–80. http://dx.doi.org/10.1093/ml/gcz064.

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Abstract Although the term ‘realism’ is frequently deployed in discussing opera productions, its meanings are far from self-evident. Examining four stage and screen productions of Benjamin Britten’s Billy Budd (1951–66), this article traces how this mode was reworked through television in the mid-twentieth century. Linking theatrical and televisual developments in the UK and the USA, I demonstrate how television’s concerns for intimacy and immediacy guided both the 1951 premiere and the condensed 1952 NBC television version. I then show how challenges to the status quo, particularly the ‘angry young men’ of British theatre and the backlash against naturalism on television, spurred the development of a revamped ‘realistic’ style in the 1964 stage and 1966 BBC productions of Billy Budd. Beyond Billy Budd, this article explores how the meanings of realism changed during the 1950s and 1960s, and how they continue to influence our study of opera performance history.
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Guangyao, Zhu, and Wang Yandong. "The Practice and Theory of China's National Image in Hong Kong Region* A Case Study of Film and Television." E3S Web of Conferences 236 (2021): 05058. http://dx.doi.org/10.1051/e3sconf/202123605058.

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Since Hong Kong was once considered to be the front line of the Cold War against China in the Anglo-American world, its film and television productions have been a significant ideological battlefield. Especially at that time, the western digital film and television production had a strong impact on the construction of national ideology in Hong Kong. It is evident that the artistic strategy of China's national image formation in the region, as viewed through film and television productions, has a targeted cultural and strategic orientation value. In this regard, this paper presents the viewpoints from the perspective of the development history of Hong Kong's film and television productions as well as the successful experience of image construction in Europe and America since the mid-twentieth century.
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Ganguly, Lauhona. "Global Television Formats and Their Impact on Production Cultures: The Remaking of Music Entertainment Television in India." Television & New Media 20, no. 1 (February 27, 2018): 20–35. http://dx.doi.org/10.1177/1527476418759215.

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This article focuses on the impact of global television formats on local (nonformat) homegrown shows and examines how formats reshape industrial–cultural conventions for local productions. Empirically, the article looks at how (Indian) Idol rewrites cultural values, assumptions, and norms for nonfictional entertainment, particularly music talent shows in India. Using a production studies approach, analysis zooms in on production negotiations—the strategies and goals of the Idol format, specific calculations targeting Indian market, and how rival, homegrown shows review and revise (or reject) a format’s appeals. By investigating how producers from local nonformat shows such as Saregamapa (discussed further in the article) deliberate and rewrite their productions to challenge and overcome Idol’s allure while also adopting Idol’s features, this article argues that format copying is a coping mechanism, which reveals the tactical, creative, and cultural responses to the power of global media capital and not creative lethargy or mere copycatting.
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Fung, Anthony YH. "Fandomization of online video or television in China." Media, Culture & Society 41, no. 7 (August 20, 2019): 995–1010. http://dx.doi.org/10.1177/0163443719863353.

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In this article, I explain a new media ecology for online television in which the online audience or fans and their participation play a stronger role in swaying the online video content or production. I call it fandomization of online television. Dependent on the number of online users and the viewership, online television platforms have to produce programs that align with the fans’ discourse and emotions to maximize their viewership. This results in a fan-discourse-led production, as in the case of China’s huge online video or television market. Based on my study of the top online television production company, Tencent Video, and its top television program, as well as ethnographic observations of their productions, I illustrate how Tencent Video manages fans by establishing a fan-based platform that works in tandem with its television platform. The dual television and fan-based platform of the television industry forms an interlocking web of the network of fans, their idols, and social media, with the consequences that social and political public discourse are highly synchronized in China’s extremely controlled Internet.
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Brook, George. "2004 Student Paper Award Winner." Project Management Journal 36, no. 1 (March 2005): 5–14. http://dx.doi.org/10.1177/875697280503600102.

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Despite the difficulties inherent in the television production industry, it continues to thrive and flourish. Given the huge amount of experience, expertise, and resources available, it is possible to manage projects in television production with excellence and integrity. However, even though the television production industry offers many advantages in the practice of project management, including highly developed methodologies and straightforward (technical) quality management, productions fail or encounter significant setbacks with great regularity. This points to the inherent complexity and difficulty of the production process. This paper identifies commonalities in the project management experience within television production, in an effort to develop a list of universal “worst practices.” It is hoped that by identifying a suite of worst practices, this paper will be helpful in guiding future production endeavors.
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Turnbull, Sue, and Felicity Collins. "Old Dogs, New Tricks: Beyond Simpson Le Mesurier, Crime-Comedy and the Telemovie Series." Media International Australia 100, no. 1 (August 2001): 33–48. http://dx.doi.org/10.1177/1329878x0110000106.

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Roger Simpson and Roger Le Mesurier are veterans of commercial television drama production (from Division 4 to Stingers). In the post-Skase/Bond era of deficit funding, their innovative telemovie series (Halifax f.p., Dogwoman) and crime-comedy series (Good Guys Bad Guys) have tested the boundaries of Australian television's staple drama format, the crime series. Taking actors (Rebecca Gibney, Marcus Graham, Magda Szubanski) as hooks for the networks, the joint venture company Beyond Simpson Le Mesurier has brought elements of sketch comedy and a high-concept film aesthetic to the crime series format. Drawing on private investment and public money (FFC, FilmVic, CTPF), Beyond Simpson Le Mesurier exemplifies the current convergence between the film and television industries. Paradoxically, the local success of Simpson Le Mesurier's series (particularly with a post-Fordist, 18–39-year-old demographic) highlights a crisis in the drama production industry — a crisis precipitated by a dramatic drop in international sales, forcing a return to licence fee productions.
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Rautkorpi, Tiina. "Television professionals’ reflections on their practices while cooperating with amateur participants: A case study of three topical Finnish multiplatform shows." Journal of Popular Television 8, no. 2 (June 1, 2020): 195–215. http://dx.doi.org/10.1386/jptv_00018_1.

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This article investigates the professional identities of key members of the television production teams that cooperate with volunteer citizens. The data is derived from production ethnographies conducted during three Finnish reality and documentary productions over the 2015‐18 period, which included reflective interviews with scriptwriter-directors, operating producers and a key cinematographer. In the productions utilizing volunteers as storytellers, the professionals focused on building multivocal television narration, which offered amateur presenters valuable opportunities to address the audience. In doing so, the professionals drew on their craft skills and gladly resorted to broad job descriptions and reciprocal teamwork. At the same time, they took the lead in planning the programme entirely and used production tools to control their communication with amateurs. However, in their reflections, the professionals also expressed uncertainty about many obstacles and tensions in selecting and encountering ordinary people. According to the activity theory, the television production staff’s professional development has to be built on the relevant strata of their current skills. The professionals’ identified interest in building multivocal content forms the basis for rejuvenating the entire production process towards co-creation, to take optimal advantage of the way regular citizens make sense.
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Knox, Simone. "Bringing the Battle to Britain: Band of Brothers and Television Runaway Production in the UK." Journal of British Cinema and Television 17, no. 3 (July 2020): 313–33. http://dx.doi.org/10.3366/jbctv.2020.0531.

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This article explores the development and pre-production history of the 2001 HBO mini-series Band of Brothers. It does so via a combination of original archive research (conducted at the BFI Reuben Library) and interviews with several industry figures with relevant professional experience, including John Barclay, the current Head of Recorded Media for the UK trade union Equity, and Roger Harrop, the former director of regional film commission Herts Film Link. Using these methodologies, the article identifies Band of Brothers as the first significant US runaway television production in the UK, and uncovers how this HBO programme came to benefit from British film tax relief. Here, close attention is paid to dubious practices concerning tax policy and contractual agreements for actors, especially Damian Lewis's pay. The article demonstrates the impact Band of Brothers has had on television production in the UK in terms of providing Equity with a useful precedent when negotiating for subsequent international productions such as Game of Thrones (2011–19). Band of Brothers offers important and timely lessons to be learned, especially given the recent growth of US television runaway productions in the UK.
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Dissertations / Theses on the topic "Television productions"

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Norbäck, Maria. "Making Public Service Television : A study of institutional work in collaborative TV productions." Doctoral thesis, Internationella Handelshögskolan, Högskolan i Jönköping, IHH, ESOL (Entrepreneurship, Strategy, Organization, Leadership), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-17554.

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This dissertation is about the institution of public service television as it is enacted in Sweden at the beginning of the 21st century. Public service broadcasting – first radio, then television – was introduced as a solution to the problems that arose at the beginning of the 20th century, namely how to control and organise the new broadcasting technology. Almost 100 years later public service TV is still around. What problems is it perceived to solve in the media landscape of today? How do the people making public service TV programmes understand it in relation to their work?This study investigates public service TV as it is enacted in collaborative productions of public service TV programming by the Swedish public broadcaster SVT, commercial production companies and additional financers. This is a setting that opens up for a negotiation of what public service TV is and should be, as well as which actors should have the right to produce it. The empirical material is generated through an extensive study of five collaboratively produced TV programmes involving mainly interviews, but also the study of media texts about public service TV, SVT and the collaborative productions of programmes, as well as field visits and observations. The theoretical inspiration for this study comes from institutional theory, and the recent developments of the stream labelled institutional work. Within this theoretical framework scholars are interested in how actors can engage in practices that are aimed at “creating, maintaining and disrupting” institutions. This dissertation describes and interprets how the programme makers involved in the collaborative production of public service TV programmes do institutional work directed at maintaining, transforming and disrupting the public service TV institution and the institutional arrangements in the Swedish public service TV field. By acknowledging the “institutional work” of practices, this study shows how the practices the programme makers engage in when producing public service TV collaboratively have a bearing on the institutional arrangements within which they take place.By drawing on the old but often neglected understanding that institutions are “permanent” solutions to “permanent” problems, I propose that institutional work involves the construction, reconstruction and deconstruction of problems that an institution is perceived to solve and the connecting of problems and solution. This thesis adds to the knowledge of how actors can contribute to make institutions durable by engaging in practices that can destabilise and transform institutions so that institutions can function as solutions to new and different problems. By elaborating on these ideas, this study opens up the “black box” of institutional durability and discusses how institutional transformation may even be essential for institutional survival in the long run. This dissertation is about the institution of public service television as it is enacted in Sweden at the beginning of the 21st century. Public service broadcasting – first radio, then television – was introduced as a solution to the problems that arose at the beginning of the 20th century, namely how to control and organise the new broadcasting technology. Almost 100 years later public service TV is still around. What problems is it perceived to solve in the media landscape of today? How do the people making public service TV programmes understand it in relation to their work?This study investigates public service TV as it is enacted in collaborative productions of public service TV programming by the Swedish public broadcaster SVT, commercial production companies and additional financers. This is a setting that opens up for a negotiation of what public service TV is and should be, as well as which actors should have the right to produce it. The empirical material is generated through an extensive study of five collaboratively produced TV programmes involving mainly interviews, but also the study of media texts about public service TV, SVT and the collaborative productions of programmes, as well as field visits and observations. The theoretical inspiration for this study comes from institutional theory, and the recent developments of the stream labelled institutional work. Within this theoretical framework scholars are interested in how actors can engage in practices that are aimed at “creating, maintaining and disrupting” institutions. This dissertation describes and interprets how the programme makers involved in the collaborative production of public service TV programmes do institutional work directed at maintaining, transforming and disrupting the public service TV institution and the institutional arrangements in the Swedish public service TV field. By acknowledging the “institutional work” of practices, this study shows how the practices the programme makers engage in when producing public service TV collaboratively have a bearing on the institutional arrangements within which they take place.By drawing on the old but often neglected understanding that institutions are “permanent” solutions to “permanent” problems, I propose that institutional work involves the construction, reconstruction and deconstruction of problems that an institution is perceived to solve and the connecting of problems and solution. This thesis adds to the knowledge of how actors can contribute to make institutions durable by engaging in practices that can destabilise and transform institutions so that institutions can function as solutions to new and different problems. By elaborating on these ideas, this study opens up the “black box” of institutional durability and discusses how institutional transformation may even be essential for institutional survival in the long run.
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Epp, Kathleen L. "Telling stories around the electronic campfire, the use of archives in television productions." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/MQ45042.pdf.

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McNair, Aimee. "Postnationalism and performance culture : questioning culturally 'Scottish' productions in contemporary television, theatre and film." Thesis, University of Strathclyde, 2011. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=17876.

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Hughes, Patrick Brian. "The relations between the productions of broadcasting organisations, the social experiences of audiences and the meaning attached to programmes, with particular reference to recent institutional and technical changes in mass communications." Thesis, London School of Economics and Political Science (University of London), 1993. http://etheses.lse.ac.uk/1231/.

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This thesis argues that by the late 1980s, investigations of relationships between the audiences and programmes of broadcasting had been flawed by one or more of the following weaknesses: a focus of inquiry which expressed an unresolved dualism between atomistic and deterministic models of society; assumptions about the relationships between knowledge and its circumstances of production which expressed an unresolved dualism between materialism and idealism; and a disregard for the particular significance of socio-historically-specific cultural forms and institutions. Consequently, it argues that for an investigation of audience-programme relationships to be judged satisfactory, it must meet these three aims: 1. Pose a clear, non-atomistic model of society and thus resolve the individual-society dualism into a new, historically-specific focus of inquiry; 2. Resolve the materialism-idealism dualism into a new model of knowledge-production; 3. Explain the roles of particular cultural forms and of particular cultural and ideological institutions in social change, especially their roles in the commodification of culture. The arguments are based on an examination of pre-1980 broadcasting research projects within the "Media and the Individual" and "Media and Society" traditions, which showed that none had satisfactorily related programmes, audiences' understandings of them and audiences' social-material circumstances. Some influential theories of culture and of ideology were also examined for a means of relating those three elements, but without success. The thesis includes a report on the author's 1981 research into audience-programme relationships, highlighting the practical and conceptual difficulties of meeting those three aims, and the final chapter argues that major 1980s broadcasting research projects also failed to meet the three aims. The thesis concludes by drawing on the lessons of the projects examined to outline a new programme of research explicitly oriented to those three aims, addressing broadcasting as a particular relationship between consciousness and circumstances.
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Ling, Qi. "Televising feminism: the Chinese television industry, female television professionals, and neoliberal empowerment." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6179.

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Television drama is a crucial site where notions of gender, as well as other cultural issues, are formed. Since 2010, the Chinese television industry has shown a growing interest in representing feminism-inflected content, most evident in cashing in on serials centering on a strong female character. These women-centric dramas mark a departure from previous constructions of gender, women, and feminism due to their narrative centrality of women, portrayal of strong female leads, expansion of women’s spheres of action, and endorsement of female power and independence. This dissertation explores the phenomenon, examining what feminist discourses are being represented by juxtaposing them with the social context of gender in China and interrogating how they are shaped by industrial practices. The factors at play in the serial production that have surfaced in this study mainly include female television professionals, textual and narrative conventions, considerations of audience profile, and party-state cultural leadership. Based on textual analysis and interviews with professionals associated with several representative women-centric television dramas, this dissertation found that these social and industrial forces collaboratively shaped the feminist discourses into various forms including the post-feminist and neoliberal feminist tendency, a common-ground form of feminism shared by various sections of society, and a vision of gender that combines traditional feminine roles and a powerful presence in the public sphere. The research raises issues about the role of the television industry in cultivating public understandings of feminism and the relationship between televisual forms of feminism and feminist politics.
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Brown, Matthew Jay. "Media Meets Science: The Experience of a Media Teacher and Science Teacher as They Implement Media Literacy in a Science Classroom." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3263.

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This qualitative action research study looked at my collaboration with a science teacher as we combined a Television Production class with an Advanced Placement Environmental Science class. This cross-curricular case study explored the implementation of the principles of media literacy, defined by the National Association for Media Literacy Education, into the science classroom where media literacy has traditionally been a non-factor. The impact of media and technology on everyone's daily lives is making it necessary for us to become media literate. The use of media literacy tools and strategies in a combined media production class and an AP science class created opportunities to explore cross-curricular understandings of media literacy education that would not have existed otherwise.
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Ibanez, Bueno Jacques. "Télévision et phonogramme : les émissions de variétés : production et synergies (le cas de la France et situations dans les télévisions francophones)." Grenoble 3, 1992. http://www.theses.fr/1992GRE39004.

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Une recherche de definitions et un debut d'histoire des emissions de varietes francaises (partie 1) precedent une "critique interne" (contenu, esthetique) et un essai de caracterisation de ces programmes. L'appelation "emission de varietes" est contestee. L'existence des emissions de varietes aujourd'hui est remise en cause, dans un mouvement d'eclatement des genres televisuels (partie 2). Les parties 3 et 4 sur les industries de la television et du phonogramme contribuent a preciser le role de la musique a la television et a infirmer l'hypothese selon laquelle les emissions de varietes jouent le role privilegie dans la promotion des phonogrammes (partie 5). Des nouvelles alliances et synergies necessitent l'analyse des phenomenes de la videomusique, de la television thematique musicale et des "nouvelles formes" de publicite a l'interieur des emissions de varietes. Les "secondes equivalent spot" ont pour objectif de mesurer l'efficacite de ces publicites. Une nouvelle economie publi-phonographique" emerge. L'avenir de l'edition phonographique au sein des industries de la communication devient incertain "la musique de l'industrie" s'affirme (partie 6). Les situations au quebec, en suisse romande et en "afrique noire francophone" (partie 7) permettent un debut de confrontation des hypotheses appliquees a la france et de constater l'absence d'un marche international francophone des contenus d'emissions de varietes
The search for a definition and a history background of variety shows in france (part 1) are preceding "an inside critic" (content, aesthetic) and a attempt to characterize those programs. The name "variety show" is arguable. Today the existence of variety shows is jeopardized by the evolution of the television style (part 2). Parts 3 and 4 relative to the television and phonogram industries are contributing to define the role of music in television. The hypothesis which says that variety shows play the most important part in the promotion of phonograms, is contesting (part 5). New alliances and synergies are creating the need for the analysis of video music, musical televisions, and new commercial supports within variety shows. The "seconds equivalent commercial" intend to measure the effectiveness of commercials. A "new phonographicadvertisement business" is born. The problem of the future of the phonographic business within the communication industries is brought up. "the music of the industry" is shenghtening (part 6). The situations in quebec, french-speaking switzerland and africa (part 7) enable the start of the confrontation of the appiled hypothesis to france, then it brings up the fact that the frenchspeaking market is lacking of variety shows
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Bunn, Derek L. "Interactive Television News." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3397.pdf.

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Angeluci, Alan César Belo [UNESP]. "Produção de conteúdos na era digital: a experiência do Roteiro do dia." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/89518.

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Made available in DSpace on 2014-06-11T19:24:05Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-06-28Bitstream added on 2014-06-13T19:30:37Z : No. of bitstreams: 1 angeluci_acb_me_bauru.pdf: 1188160 bytes, checksum: 71be51f189e78a6b48d86686b8776ed1 (MD5)
Este trabalho estuda a chegada de mudanças na produção dos conteúdos informativos para Televisão Pública, a partir da implantação do Sistema Brasileiro de Televisão Digital Terrestre - SBTVD-T em 2007. O foco na Televisão Pública ajuda a resgatar a importância dos canais públicos, e sua vocação na execução de projetos que buscam a experimentação, de forma criativa e inovadora, com base nas potencialidades do sistema nipo-brasileiro de Televisão Digital. Metodologicamente, o trabalho é organizado em três etapas: na primeira, é feita uma análise do manual de jornalismo da então Radiobrás, hoje TV Brasil, organizado por Celso Nucci em 2006, em que se verifica a necessidade do documento em se atualizar frente às mudanças advindas do processo de digitalização da produção. A segunda etapa trata-se de uma experiência empírica de produção de um programa-piloto utilizando na prática esses novos conceitos na Televisão Digital. Os dados coletados serviram de base para a terceira etapa, em que são elaboradas e discutidas oito categorias de análise, que alteram de maneira significativa a forma de produzir informação através da linguagem audiovisual digital, oferecendo importantes pistas para jornalistas e/ou produtores de conteúdo que carecem de modelos para produção digital interativa. As principais referências do estudo são os autores Barbosa Filho e Castro (2008), Jenkins (2008) e Gosciola (2003). Com este trabalho, espera-se evidenciar que estão ocorrendo mudanças paradigmáticas na passagem do processo de produção analógica para o modelo de produção digital interativa. Para além da digitalização dos equipamentos, existe uma profunda alteração nos conceitos e práticas de produção de conteúdos audiovisuais, que contemplam a perspectiva de programação não-linear, interativa e voltada para múltiplas plataformas
This work studies the arrival of changes in the production of informative content for Public Television, from the implantation of the Brazilian Digital Terrestrial Television System - SBTVD-T (abbreviation in portuguese) - in 2007. The focus on Public Television helps to restore the importance of public broadcasting, and its vocation in the implementation of projects that seeks experimentation, in a creative and innovate way, based on potentialities of japanese-brazilian digital television system. Methodologically, the work is organizaed in three stages: first, is made an analysis of the Radiobras Journalism Manual, today TV Brasil, organized by Celso Nucci in 2006, where there is a need to update the document before the changes resulting from the digitalization process of production. The second stage is an empirical experience of producing a pilot program using these new concepts into practice in Digital Television. The collected data ere the basis for the thir stage in which eight categories of analysis are were elaborated and discussed, which after significantly the way to produce information through the digital audiovisual language, providing important clues to journalists and/or producers of contant that feel the lack of models for interactive digital production. The main references for the study are the authors Barbosa Filho and Castro (2008), Jenkins (2008) and Gosciola (2003). This work is expected to show that paradigm changes are occuring in the transition process from analog to interactive digital production model. Beyond equipment digitalization, there is a deep change in concepts and practices of audiovisual content, which includes the perspective of non-linear programming, interactive and focused on multiple platforms
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Stanwood, William Edward. "Evaluating subject matter learning in producing television programs." Thesis, Boston University, 2002. https://hdl.handle.net/2144/32836.

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Thesis (Ed.D.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
This study examined the process of television production as a cognitive tool. Specifically, the study focused on two major areas of investigation: what students learn about program content from planning, preparing, and producing television productions and the factors that influence such learning. The participants were students in a television production class offered by a large university in the northeastern United States of America. Qualitative, supplemented by quantitative methodologies were used to collect data. Data sources included program proposals and scripts, journal entries, class discussion, evaluations, interviews, and concept maps. The findings indicated that the process of producing a television program can act as a cognitive tool. Several factors were found to support learning: interest and motivation, collaboration, engrossment, and pride of authorship.
2031-01-01
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Books on the topic "Television productions"

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Rights clearances for film and television productions. London: PACT, 1997.

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Studios, Pinewood. Pinewood Studios: Film and television productions since 1936. Iver, Bucks: Pinewood Studios, 1989.

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The wonderful world of Disney television: A complete history. New York: Hyperion, 1997.

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Nicholson, Margie. Cable access: Community channels and productions for nonprofits. Washington, D.C: Benton Foundation, 1990.

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Stephen J. Cannell television productions: A history of all series and pilots. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.

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Citters, Darrell Van. The Art of Jay Ward Productions. Los Angeles, CA: Oxberry Press, 2013.

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Arnold, Mark. Created and produced by Total TeleVision Productions: The story of Underdog, Tennessee Tuxedo and the rest. Albany, GA: BearManor Media, 2009.

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Adams, Stan. Chicago: Radio, television, motion pictures : a history of Chicago based programs and productions. [Chicago: S. Adams, 1992.

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Clare, Janet. Theatre of the air: A checklist of radio productions of Renaissance drama, 1922 - 1986 : with an appendix of television productions (excluding Shakespeare). [Coventry]: Graduate School of Renaissance Studies, University of Warwick, 1986.

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The television horrors of Dan Curtis: Dark shadows, The night stalker and other productions, 1966-2006. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2009.

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Book chapters on the topic "Television productions"

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Weissmann, Elke. "The National in International Co-Productions." In Transnational Television Drama, 140–63. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137283948_7.

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Lee, Sohyun. "Monstrous (Re)productions." In Tracing the Borders of Spanish Horror Cinema and Television, 51–66. New York: Routledge, 2017. | Series: Routledge research in cultural and media studies; 107: Routledge, 2017. http://dx.doi.org/10.4324/9781315229249-4.

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Sundet, Vilde Schanke. "Drama as Flagship Productions: Small-Nation Television and Digital Distribution." In Danish Television Drama, 147–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40798-8_8.

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Harris, Benjamin. "‘European Television Co-productions’—an interview with Klaus Zimmermann." In European Film and Television Co-production, 319–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97157-5_20.

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Rasmussen, Nina Vindum. "European Co-productions in a Digital Single Market: EUtopia or Dystopia?" In European Film and Television Co-production, 105–20. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97157-5_6.

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Papadimitriou, Lydia. "European Co-productions and Greek Cinema since the Crisis: “Extroversion” as Survival." In European Film and Television Co-production, 207–22. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97157-5_12.

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Drake, Philip. "From Co-productions to ‘Co-distributions’? Re-evaluating Distribution Policies for European Film." In European Film and Television Co-production, 83–104. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97157-5_5.

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Cucco, Marco. "The Many Enemies of Co-productions in Italy: Moviegoers, Broadcasters, Policy-Makers and Half-Hearted Producers." In European Film and Television Co-production, 191–206. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97157-5_11.

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Chambwera, Collen. "Understanding Netflix’s Foray into Original Productions in South Africa: A “Jet Plane” and “Helicopter” View." In Television in Africa in the Digital Age, 39–57. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68854-7_3.

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Owens, Jim. "Television Graphics." In Television Production, 179–88. 17th edition. | New York : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429027581-10.

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Conference papers on the topic "Television productions"

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Timko, Stefan. "SAINTS CYRIL AND METHODIUS AS HEROES OF FEATURE TELEVISION AND FILM PRODUCTIONS AFTER 1989." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s07.042.

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Vallee, Jacques, Max Artigalas, and Michel Favreau. "Digital Production Switchers." In SMPTE Television Conference. IEEE, 1985. http://dx.doi.org/10.5594/m00794.

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Wakui, Kotaro, and Noboru Yura. "Future HD Video Production." In SMPTE Television Conference. IEEE, 1989. http://dx.doi.org/10.5594/m00754.

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Dickey, Douglas F. "Production Facilities for MTS." In SMPTE Television Conference. IEEE, 1986. http://dx.doi.org/10.5594/m00781.

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Stumpf, Richard J. "Forging a HDTV System for Production and Post Production — A Working Group Report." In SMPTE Television Conference. IEEE, 1985. http://dx.doi.org/10.5594/m00821.

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Dalton, Chris J., and Andrew T. Malcher. "Communications between Analogue Component Production Centers." In SMPTE Television Conference. IEEE, 1988. http://dx.doi.org/10.5594/m00527.

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Pantuso, Charles A. "Reducing Financial Aliasing in HDTV Production." In SMPTE Television Conference. IEEE, 1989. http://dx.doi.org/10.5594/m00748.

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Patten, Michael D. "Controlling Audio Mixers in Video Post Production." In SMPTE Television Conference. IEEE, 1988. http://dx.doi.org/10.5594/m00543.

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Kennedy, Thomas, and Bert Swackhamer. "Better Video through Digital Post-Production Techniques." In SMPTE Television Conference. IEEE, 1989. http://dx.doi.org/10.5594/m00735.

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Powers, Kerns H. "High Definition Production Standards—Interlace or Progressive?" In SMPTE Television Conference. IEEE, 1985. http://dx.doi.org/10.5594/m00813.

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Reports on the topic "Television productions"

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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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Abstract:
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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Medina-Nieto, M. Critical analysis of Spain’s television content production and national public radio and television law. The case of TVE. Revista Latina de Comunicación Social, April 2018. http://dx.doi.org/10.4185/rlcs-2018-1279en.

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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, May 2019. http://dx.doi.org/10.4185/rlcs-2019-1361en.

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