To see the other types of publications on this topic, follow the link: Television productions.
Dissertations / Theses on the topic 'Television productions'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Television productions.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full text
3
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.
Full text
4
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/.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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 varietesThe 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
8
Bunn, Derek L. "Interactive Television News." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3397.pdf.
Full text
9
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.
Full textAbstract:
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
10
Stanwood, William Edward. "Evaluating subject matter learning in producing television programs." Thesis, Boston University, 2002. https://hdl.handle.net/2144/32836.
Full textAbstract:
Thesis (Ed.D.)--Boston UniversityPLEASE 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
11
Li, Hong. "Formatted entertainment in China : change in television production practices." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/q0qz1/formatted-entertainment-in-china-change-in-television-production-practices.
Full textAbstract:
Since the format Got Talent achieved great success in China, we can see the prevalence of format adoption and the television industry’s reliance on western expertise. Television formats have provided Chinese television professionals not only with new creative inputs into indigenous production practices but also with license to experiment with ideas that may not fit in with the legacy of the national culture or the brand of the channel or network. This study explores the growing trend toward television format adoption and localization as an industry development strategy in China, and provides rich data through qualitative methods such as field observation and semi-‐structured interviews. The results of the various analyses in the thesis demonstrate, in different ways, how Chinese professionals perceive the development of their practices and that of the whole television industry following the adoption and localization of formats. Furthermore, the analyses also indicate how China’s political and economic contexts impact on the ways in which television formats are localized.
12
Lourenço, Ana Isabel Príncipe dos Santos da Silva. "Regulating contracts in the independent television production industry." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612405.
Full text
13
Donio, David A. "Television production techniques with respect to children's physical awareness." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1986. http://www.kutztown.edu/library/services/remote_access.asp.
Full text
14
Sousa, Maria Pires Marques Gomes de. "Experiência televisiva em Portugal : atitudes e expectativas face à televisão digital terrestre." Master's thesis, Instituto Superior de Economia e Gestão, 2011. http://hdl.handle.net/10400.5/10248.
Full textAbstract:
Mestrado em MarketingA experiência televisiva em Portugal está a mudar. Com efeito, a passagem da era analógica para a era digital faz com que as potencialidades oferecidas pela televisão aproximem a experiência televisiva da navegação na Internet. A passagem para a era digital é marcada pelo switch-off da televisão analógica agendado, a nível europeu, para o ano de 2012. Este trabalho pretende por um lado, perceber quais serão as novas formas de consumo de televisão por parte dos telespectadores e por outro, tentar antecipar como é que as operadoras nacionais de televisão de sinal aberto poderão encontrar novas formas de financiamento num meio que, muito brevemente, será totalmente digital. Será também objecto de estudo, analisar o grau de conhecimento e de possível utilização das novas potencialidades associadas à TDT por parte dos telespectadores. Foram enviados questionários a decisores de operadoras nacionais de televisão de sinal aberto, de empresas de distribuição de conteúdos, de agências de publicidade e de anunciantes, obtendo-se uma amostra de 26 respondentes em 32 inquiridos. Com base na análise dos dados recolhidos, concluiu-se que é fundamental por um lado, integrar o telespectador na passagem para a era digital e por outro, conseguir que as operadoras nacionais de televisão de sinal aberto encontrem novas formas de aproveitamento do investimento publicitário. Uma conclusão importante deste trabalho é ter ficado claro que a grande arma das televisões para ultrapassar os desafios futuros se mantém quase inalterável: é o foco na produção, na criatividade, na inovação e na modernidade dos conteúdos.
Television in Portugal is under change. Digital is gaining momentum, allowing for an internet like experience and leaving the analogue era behind. In 2012 analogue will be switched-off Europe wide. This paper intends to understand new ways of consumption on behalf of viewers, if any, and to anticipate how Free-To-Air (FTA) national TV operators will be able to finance its operations, given that from production to reception everything will be digital. We will also analyse viewers' understanding of the Digital Terrestrial Television (DTT) and possible uses of the innovations associated. Questionnaires were sent to decision-makers of FTA national TV operators, to content distributors, advertising agencies, with a 26 response to 32 inquired. From the analysed data, we understand that it is essential to guide the viewer in the conversion from analogue to digital TV, and that FTA national TV operators find new means to benefit from advertising investment. It has also been made clear that TV operators' greatest asset hasn't changed; focus must be on production, creativity, innovation and novelty of content.
15
Luzón, Fernández Virginia. "La irrupción de Internet en las rutinas productivas de los informativos diarios televisivos. El caso de TV3, Televisió de Catalunya." Doctoral thesis, Universitat Autònoma de Barcelona, 2001. http://hdl.handle.net/10803/4099.
Full textAbstract:
La presente tesis doctoral trata sobre la irrupción y evolución de la herramienta Internet en las rutinas productivas de los informativos diarios televisivos, analizando el caso concreto de TV3, Televisió de Catalunya. El desarrollo de la investigación parte de la proyección histórica de la empresa audiovisual TV3, Televisió de Catalunya y de la descripción de Internet como metamedio de comunicación. Posteriormente se presentan las relaciones establecidas entre ambos medios, profundizando en las fuentes de información aplicadas por los periodistas y aquéllas procedentes de la red. Finalmente nos adentramos en un trabajo de campo dividido entre el análisis del periodista que se enfrenta a la aplicación de esta herramienta y su proyección en el informativo audiovisual.
Se incide en la realización del nuevo instrumento de trabajo con las fuentes de información y se analiza tanto la transformación del rol del periodista como los cambios del producto informativo, proponiendo un marco de investigación específico, una nueva rutina y terminología y conceptos propios de la aplicación de esta herramienta digital.
The present doctoral thesis treats on the irruption and evolution of the tool Internet in the productive routines of the informative television news, analyzing the concrete case of TV3, Televisió de Catalunya. The development of the investigation divides from the historical projection of the audio-visual company TV3, Televisió de Catalunya and from the Internet description as metamedio of communication. Later there appear the relations established between both means, penetrating into the sources of information applied by the journalists and those proceeding of the net. Finally we enter a work of field divided between the analysis of the journalist who faces the application of this tool and its projection in the informative audio-visual news. One affects in the accomplishment of the new instrument of work with the sources of information and there is analyzed so much the transformation of the role of the journalist as the changes of the informative product, proposing a specific frame of investigation.
16
Schragger, Benjamin Jay. "Producing a commercially viable video feature production in an academic setting." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1988. http://www.kutztown.edu/library/services/remote_access.asp.
Full text
17
Ekwenchi, Ogochukwu Charity. "Popular fiction television production in Nigeria : global models, local responses." Thesis, University of Westminster, 2008. https://westminsterresearch.westminster.ac.uk/item/9156w/popular-fiction-television-production-in-nigeria-global-models-local-responses.
Full textAbstract:
This thesis explores the ways in which popular fiction television is produced in Nigeria in the 21st century and through it the investigation of social relations in the industry and the analysis of its products. In so doing the thesis also interrogates the assumptions of social theorists regarding the impact that the globalization of culture is supposed to have on local cultures. Drawing on empirical evidence from fieldwork carried out in Nigeria between February and June 2006 involving participant observation in the location production of a television drama series, semi-structured and unstructured interviews with 15 people in Nigeria’s television industry, the thesis argues that despite some production practices in the industry not yet being, according to the practitioners, up to scratch, Nollywood has also evolved social and institutional structures which are recognisable features of the structure of the television industry everywhere. The thesis also argues that despite its having an industry that is ranked third in the world in terms of output, the West, but Hollywood in particular, retains a strong grip on the imagination of Nigeria’s popular fiction television producers. For a more nuanced account of the impact of the globalization of culture on Nigeria’s popular fiction television industry, however, I propose that we need to go beyond how people speak about what they do, to how they do what they do. Analysis of popular conventions of a less powerful audio visual industry, like Nigeria’s Nollywood, alongside those of Hollywood will help unpack further the nature of the impact that dominant cultures are assumed to have on local cultures.
18
Nicoli, Nicholas. "Creativity management in original television production at the BBC." Thesis, City University London, 2010. http://openaccess.city.ac.uk/1153/.
Full textAbstract:
The primary concern of this thesis is to explore how creativity is managed in original television production at the BBC, and to that end, it seeks to make an original contribution to both organisational creativity management and television production discourses. The thesis offers an extensive literature review that connects cultural production, television production and creativity discourses. The thesis is consequently divided in two sections. In the first, it addresses the major theoretical frameworks of organisational creativity management and television production, and also includes a chapter on methodology. The second aims to explore BBC creativity from three viewpoints. These are, from a historical perspective, from how the BBC is affected by external factors, and from how it attempts to manage creativity of original television production from 2004 onwards. Findings suggest that despite the efficacy of numerous policies regarding how creativity is stimulated at the broadcaster, others are open to criticism. One such policy is the Window of Creative Competition (WoCC). The WoCC requires BBC’s in-house production units and the independent production sector to openly compete for approximately 250 million pounds of annual commissions for original television production. The thesis concedes that the WoCC will lead to a progressive decline in in-house television production and possibly to a decline in UK television creativity. The thesis draws on a wide range of primary and secondary sources. It combines case study explanatory analysis with long-term historical perspectives on organisational changes at the BBC.
19
Taylor, Paul Alan. "Theories of laughter and the production of television comedy." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/8433.
Full textAbstract:
In order to examine the context of entertainment (through studying the particular form of television situation comedy) it was felt necessary to review the literature referring to humour in general. Chapters 2, 3, and 4 look at contributions from the fields of psychology, philosophy, and sociology. Psychology has little to offer if an understanding of the mass media is sought; philosophy places man in society but concentrates on the individual perception of humour; ‘sociology’ confirms the useful concept of comedy as dealing with values and conventions. The audience may be asked to laugh at what is determined to be unacceptable behaviour in society, just as it may applaud correct ways of acting. Chapter 5 contains a discussion of approaches to the mass media and concludes that studies of production may be more relevant than studies of effects. Chapter 6 offers a perspective of the development of situation comedies, from music hail sketches through radio to television. The views of producers and writers of comedy are reported in Chapter 7; the major conclusion is that they are not free agents but work to provide entertainment as demanded by the television companies. Chapter 8 gives two approaches to the audience. An analysis of information about programmes suggests that major themes may be identified. An examination of the 'studio audience' brings the thesis back to its main drift - that laughter is social communication of an order above mere response to joking and comedy.
20
Scott, Alistair James. "Raploch Stories : continuity and innovation for television documentary production." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/7245.
Full textAbstract:
This thesis provides an ‘insider account' of the process of making contemporary ‘observational' documentaries from within the broadcasting industry. Raploch Stories (2002) and Raploch Stories Revisited (2007) are seven television documentary programmes written, produced and directed by me for BBC Scotland. This critical appraisal examines the pathway from the formulation of the creative idea, through project research and development, filming, post-production, delivery and transmission, in order to assess and demonstrate the originality of these published works. This is supported by a reflexive commentary which examines the influence of the wider ‘community of practice' on my development as a film-maker. The study identifies ways in which these films demonstrate innovation and progress in technology and production methods, and examines the development of new hybrid forms of programming in the television documentary genre. These new developments are placed in the context of the history of the documentary film, and the on-going academic debate about the definition of the genre and the question of whether it is possible to achieve an authentic record of real life. By comparing Raploch Stories with other examples of social documentary film-making, such as Housing Problems (1935), Lilybank (1977), Wester Hailes – the Huts (1985) and The Scheme (2010), the thesis analyses how films in this sub-genre have evolved and assesses the ways in which there has been continuity in content and in the approach to filming. Finally, the thesis seeks to establish the significance of the published works and to demonstrate how these programmes contribute to the development of documentary television production in Scotland, and to the representation of Scottish working-class communities by the media. Through the reflexive examination of creativity, practice, production, textual interpretation, cultural impact, institutional history, and policy and regulation, the thesis provides a critical perspective on these overlapping areas of knowledge.
21
Joy, Ronald Dean. "Kelli and the misfits." CSUSB ScholarWorks, 1988. https://scholarworks.lib.csusb.edu/etd-project/344.
Full text
22
Côté, Christian. "La production des télévisions infra-nationales." Grenoble 3, 1991. http://www.theses.fr/1991GRE39035.
Full textAbstract:
La multiplication des programmes locaux d'information de television, depuis 1988, demandait une etude approfondie de leurs logiques de production, et en premier lieu de l'articulation des reseaux et des territoires. Cette problematique permet de definir les enjeux politiques, sociaux et economiques de ces televisions. Ils concernent, d'une part, les politiques publiques de l'etat appliquees au territoire (amenagement, decentralisation, gestion du social par le local), la montee des territoires, et d'autre part, l'evolution du secteur audiovisuel (television gaullienne, montee de la seconde generation, perspective de la television fragmentee). L'analyse des ruptures et des continuites dans la production de ces televisions, depuis 1964, a permis la mise en evidence de deux periodes principales : la television regionale deterritorialisee et, a partir durapport bredin (1985), la reorganisation du role de l'etat, la montee des reseaux et la predominance du niveau local. Les logiques politiques, sociales et economiques a a l'oeuvre produisent la montee du programme d'information locale. Seul susceptible d'une production et d'une consommation, il constitue a la fois le garant d'un consensus politique et d'un interet des acteurs nationaux de production diffusion pour l'information locale. Enfin, ce programme produit une rupture de mediation (et donc la fin d'une reproduction locale ou regionale du modele national de l'information), integree dans les perspectives de transformation des usages et des consommations de l'information, developpees par l'ensemble des acteursThe multiplication of local tv information, since 1988, required an extensive study of their generations logic, and, first, the articulation of networks and territories. This problem allows to define political, social and economic stakes of the these televisions. They affect on the hand, thep ublic politicies of the state about territory (amenagement, decentralization, administration of society by local), the rise of territories, and, on the other hand, the audiovisual development ("gaullienne" tv, the rise of the second generation, a view of fragmentary television). The analysis of the splits and continuation of local television production, since 1964, allows to describe two main periods : the regional and off-territory television and, since the bredin report (1985), the reorganization of the role of the state, the rise of networks and the leading of the local standard. The working of political, social and economic logic brings about the rise of the local information program. It is the only local program capable of doing production and consumption. It garantees political agreement and interest of national television producers. This program produces a split of mediation (consequently the end of the local reproduction of the pattern of national information); this mediation is integrated in the changes of information uses and consumption. They are evolved by all the actors
23
Phillips, Wendy. "Television sitcom production at the BBC 1973-1984 : an integrated approach." Thesis, University of Westminster, 2005. https://westminsterresearch.westminster.ac.uk/item/92xy3/television-sitcom-production-at-the-bbc-1973-1984-an-integrated-approach.
Full textAbstract:
Between 1973 and 1984 BBC Television produced and transmitted a number of popular situation comedies. These were designed to be light-hearted, inoffensive entertainment, but they nevertheless explored, reflected and reinforced changing public attitudes to private sexual behaviour. Central to the emergence of these series at this time was the ethos of the BBC's Light Entertainment Department under the successive leadership of Bill Cotton and James Gilbert. They espoused and developed attitudes of creative excellence, competitive success and benevolent patronage, and took a liberal, non-polemical, middle-brow approach to material. The thesis adopts a multi-faceted approach to reveal the relationships between the individual contributors and the public feedback for four of the most successful series: Are You Being Served (1973-1985), The Good Life (1975-1978), Butterflies (1978- 1983) and The Young Ones (1982-1984). It concludes that their central creative impulse initially came from the four writer-producer teams: David Croft and Jeremy Lloyd; John Esmonde, Bob Larbey and John Howard Davies; Carla Lane, Sydney Lotterby and Gareth Gwenlan; and Rik Mayall, Lise Mayer, Ben Elton and Paul Jackson. These four series offered audiences a range of comedic situations, namely: a fading department store, an ecologically-aware suburban household, a more traditional suburban household and a student flat in a large metropolitan city. Audiences had several points of identification with the various characters and were able to adjust their own individual attitude to the private sexual behaviour of the characters, thus allowing the public as a whole to reach a new consensus about emerging changes in public attitudes. Particularly noticeable was the positive public response to the portrayal of two characters who challenged traditional gender norms: Mr Humphries (John Inman) and Margo Leadbetter (Penelope Keith), which for a short while gave both actor and character a life beyond each series. Other notable developments were the public acceptance of a more open portrayal of sexual desire in women, the decline of innuendo and a more public discussion of deviant sexual behaviour, the open acceptance of pre-marital sexual relationships and the tentative recognition of extra-marital sexual relationships.
24
Capretta, Roberto. "The complexity of sound design and operations for television production." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22537.
Full textAbstract:
The following thesis is an examination of audio engineering for television broadcast production. The extensive sound design, implementation, and production of television programming are to be examined from the perspective of four individual productions of diverse genres. A variety of skills necessary to produce each of the programs are discussed in detail.
25
Hubka, David S. "Globalization of cultural production, children's animated television, 1978 to 1995." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ37066.pdf.
Full text
26
Hibbeler, Christian. "Mercy." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/12518.
Full textAbstract:
Includes bibliographical references.The way in which indigenous people are represented in documentaries has radically changed within the last century. But "If there (still) is one overriding ethical/political / ideological! question to documentary filmmaking it may be, What to do with the people" (Nichols qtd. in Barbash and Taylor, 1997: p. 12). How can people and issues be represented appropriately? How can one make a documentary about somebody or something with a totally different cultural background to one's own without being unethical? The so-called expository documentary was the first prevailing documentary mode and tries to answer these questions with an authoritative voice-over commentary combined with a series of images that aim to be descriptive and informative. The voice-over approaches the spectator directly and offers facts or arguments that are illustrated by the images. It provides abstract information that the image cannot carry or comments on those actions and events that are unfamiliar to the target audience. This is exactly what some filmmakers reacted against - "to explain what the images mean, as if they don't explain themselves, or as if viewers can't be trusted to work the meaning out on their own. Indeed, the voice-over often seems to attribute a reduced meaning to the visuals; that is it denies them a density they might have by themselves" (Barbash and Taylor, 1997: p. 19). It is typical for the expository documentary style that the narrator speaks about or for other people. Some filmmakers see these voice-overs as "colonial, an enemy of the film, the voice of God" or even as "the (non-existent) view from somewhere" (Barbash and Taylor, 1997: p. 47).
27
Kokot, Kerrin. "Tiny." Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8027.
Full textAbstract:
Tiny is a film about a young woman who loses her imagination. Her creative energy is doused. She becomes what most artists are terrified of: uninspired. She is depressed, apathetic and stagnant. She does not move from her bed. Her toes sprout weeds. In order to regain control of herself and reignite her creativity she needs to plunge deeply into her multilayered psyche - an adventure that not only provides material for new creative insights but also guides Tiny to understanding herself better. She accepts the gods and demons that dwell within, recognising these complexes as the spirits of her bloodline.
28
Schafer, Nicole. "Memory, time and place in The Ballad of Rosalind Ballingall." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8135.
Full textAbstract:
Includes DVD titled: The ballad of Rosalind Ballingall : a documentary.Includes bibliographical references (leaves 28-29).
The Ballad ofRosalind Ballingall is a recollection of the mystery surrounding the disappearance of the twenty-year-old University of Cape Town drama student into the Knysna forests in 1969. In search of answers to this unsolved case, the film follows Rosalind's footsteps, from the bohemian city streets of Cape Town in the sixties to the Knysna forests, drawing on the collective memory of the Knysna community and students who were at university with Rosalind at the time. In search of Rosalind, the film journeys into the ruins of old South Africa, tracing the emerging consciousness of the hippie era that evolved during that period, partially in response to the oppressive socio-political climate of the country at the time.
29
Triegaardt, Allison Laura. "One character, one bullet : an investigation of the death of character in contemporary South African television drama and the multiplicity of social self as possible means of character revival." Master's thesis, University of Cape Town, 2011. http://hdl.handle.net/11427/11199.
Full textAbstract:
Title on accompanying disc: ZindziTelevision drama demands a strong sense of story to sustain a viewer’s engagement, and fictional characters are key dramatic vehicles in story construction, yet it remains an area that is severely neglected in terms of both theory and practice at this time in South Africa. I have discovered that the ‘death’ of the South African television character can be attributed (at least in part) to a unique set of challenges facing practitioners. My aim is to discover if the moribund television character can perhaps be resuscitated through the application of a concept called ‘the multiplicity of social self’, which finds its roots in the discipline of social psychology. This written explication and its accompanying experimental television film, Zindzi, are twin sites from which to consider the death and possible revival of contemporary South African television characters.
30
Rodrigues, Christopher. "Animating the image : reflections on character and process in the "The First and Last Loves of Leonardo Lopes"." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8134.
Full textAbstract:
Includes bibliographical references (leaves 27-30).In reflecting on the process of making the short film "The First and Last Loves of Leonardo Lopes" the author argues against interpretation as a method for working with character and its development. It is contended that the formative unconscious imagers) at the heart of a character requires a director to be more sensory in her/his response and to develop an intimate process of animating the image. The descriptive personal vocabularies of feeling, intuition and sensation are accordingly juxtaposed against prescriptive impersonal intellectual modalities that diminish immediacy as a by-product of its "latent content". Active imagination, poetry and music are seen as more appropriate models for the filmmaker than theories and theses. The author goes on to consider the dialectical reinforcement of interpretive strategies as a result of the economic pressures of the film industry and argues for a more process friendly conception of production. After reflecting on the role and insecurities of the director in a collaborative art form, a motivation is provided for the "natural voice" of the accompanying director's commentary.
31
Molema, Moratiwa. "Layering time : the representation of tradition in contemporary multimedia performance." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8126.
Full textAbstract:
DVD entitled: Water feels / directed by Moratiwa Molema.Includes abstract.
Includes bibliographical references (leaves 35-37).
As a culminating thesis project my Master of Fine Arts degree in Film and Television, chose to create a theatrical production that incorporated multiple video projections as well as performance forms such as dance, drama, music and ritual. This explication then begins answering the question, 'how does a student of film and television production engage with live performance and create a theatrical event as opposed to a DVD as a final outcome?' The 'why' lies in the hypothesis contained in the title of the explication "Layering Time: The Representation of Tradition in Contemporary Multi Media Performance." I was exposed to multimedia techniques at the University of Hartford in America while pursuing a Bachelor of Fine Arts degree. Through the Master of Fine Arts in Film and Television programme at the University of Cape Town, South Africa, J wished to expand and deepen what I had learnt as an undergraduate student. The result of this effort was my thesis production. The theme of the production and the concept of layering time dealt with the importance of continuity and representations of traditional culture in a contemporary world, which is a layering of past and present. As a multi-media production,WaterFeels, was also an exploration of conceptual relationships between different art forms and the potential in this use of mixed media for notions of past and present time to exist simultaneously.
32
Paton, Garth. "An exploration of the construction of a relationship between video (videographer) and live performance (theatre-maker/performer) and how the two art forms may inform each other." Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/10764.
Full textAbstract:
Includes bibliographical references (leaves 29-31).It is my intention to use video in a theatre setting to make visible what is not, to provide alternate views of reality and live action, and to create a heightened awareness of the medium through its use in an unconventional setting and in ways different to those that we are familiar with. It is my hope that through careful negotiation with the theatre-maker/choreographer, its use with live action will have an enhancing effect, perhaps leading to a more visceral theatre. The theory best serving to assist my attempts in terms of placing them into the academic continuum of other such endeavours and practitioners, is postmodern. Although the use of film and video in performance settings has become more general in the past three decades due to the accessibility of equipment, its use dates back to the beginning of film. This use has always been contentious, where it was often felt that the combining of a 'low' art, such as film was seen to be, with theatre, would have a diminishing effect on the latter.
33
Gilliam, Eva. "The docu-comedy : towards a new genre in the expression of social commentary through comic performance, using documentary film techniques and reality television discourse." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/13980.
Full textAbstract:
Includes bibliographical references (leaves 43-44).A 26-minute docu-comedy product of my studies in film and television production, The Traveling Jewish, captures improvised moments of social interaction through documentary filming style. Through filming, editing, animation and music, it becomes an entertaining half-hour of television and social commentary. It is with each cut, layer, added graphics, omitted sound or musical accompaniment, that the viewer is guided into the cultural understanding and comedic inclination of the creator of such a piece. In doing so, I believe we are opening up a new genre of Television, the Docu-Comedy, which aims to explore comedy in site-specific landscapes, through primarily improvised scenes, using the discretion of the director to do otherwise when narrative comprehension is at risk. In this way humor exists in a way not often exploited on television. As humor serves as a forum to bring to the attention of society activities, beliefs, morals, etc., at the same time challenging their validity or even ethical realities, its mere existence is often seen as a sign of the health of a society. This paper looks at all the technical and theoretical elements of such a proposal.
34
Kirlew, Akil. "The horror film genre as an interpretive device in an adaptation of Tennessee Williams 's Suddenly last summer." Master's thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/19143.
Full textAbstract:
As my thesis, I have made an adaptation for film of Suddenly Last Summer by Tennessee Williams. The play tells the story of a young woman, Catharine Holly, who has been institutionalized shortly after her return to New Orleans from a vacation on the island of Cabeza de Lobo. Her cousin, Sebastian, a wealthy poet and gay sex-tourist died on this trip. He was killed and partially eaten by a group of impoverished young men (at least some of these men were his former sexual partners). Sebastian's mother, Violet Venable - in the hopes of suppressing the true circumstances surrounding the death of her son - attempts to persuade an ambitious young doctor to lobotomize Catharine as the play opens. It should be noted that the horror film genre has greatly affected my thinking about this project, and I will be discussing three sub-genres of horror at some length: body horror, the slasher film, and race horror. The horror films and trends to be discussed come, in the main, from the period ranging from the late 1970s to the early 1990s and will, I think, be of great help in explaining certain choices I have made in the course of making this film. My main interest is determining whether the themes present in Williams's original text can be explored and expanded upon via recourse to the horror genre. Additionally, my film moves the action of Suddenly Last Summer from the New Orleans of the early half of the twentieth century to modem-day Cape Town. However, the action takes place in a sort of netherworld or blank space that serves as metaphor for both cinema and the white cube of the gallery. This choice of staging is meant to refer to Catharine's mention of the "blazing white wall" against which her cousin's body was thrown after his death. In fact, all throughout Catharine's description of how and why Sebastian died-and it must be remembered that it is this description that serves as the denouement of the play-mentions of white light, white heat, Sebastian's whiteness (as opposed to simply saying he looked pale), and the whiteness of the day itself are employed as a sort of leitmotif That Catharine uses "whiteness" in describing an incredibly violent chapter in her past is crucial to my understanding of the text and has helped me craft a cinematic strategy for my adaptation of this play. The violence and savagery that has marked Catharine's past has followed her into the present, just as it has followed her from the impoverished island of Cabeza de Lobo to the wealthy Garden District of New Orleans, and-if Violet Venable has her way-it will follow Catharine into her future. Taking the key descriptive element of that violent day in Cabeza de Lobo and using it to paint the world of Catharine's present will, I hope, make this connection clear.
35
Pereira, Lívia Cirne de Azevêdo. "Interatividade e perspectivas no telejornalismo da TV digital." Universidade Federal da Paraíba, 2010. http://tede.biblioteca.ufpb.br:8080/handle/tede/4498.
Full textAbstract:
Made available in DSpace on 2015-05-07T14:46:48Z (GMT). No. of bitstreams: 1
arquivototal.pdf: 3391922 bytes, checksum: 512cad9880f5f6b2ceae9aa114c11bb6 (MD5)
Previous issue date: 2010-02-19Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
In Brazil, the TV news had its origins in 1950, in a simple struture, without many audiovisual resources. However, as time goes by, transformations get introduced in the production of TV journalism, proved principally by the following characteristics: the use of the videotape, the emission of contents at a distance, the diffusion in colors, the beginning of the TV by subscription, the appearing of the Internet. Such innovations ensure the advent of the new technologies for a proper television, as a result, the development of the TV journalism, pushing it to revise its concepts and paradigms. An example that certificates this issue is the fact that the TV news show the need of the establishment of new formats, making available the spectator participation, based on the interactive assumption of the cyberspace, encouraging potential of content, where is valued the Internet user autonomy. In the meantime, could be said that this participation still find limitations in the analog technology, what push us to mention that to have the dialogue between the transmitter and the audience, this has to cover the other coexisting medias. In this context, the Brazilian digital TV had its origins, one media with a resolution superior than the one of the conventional TV and that allow the simultaneous emission of more information and interactive services, been these principals differentials, enabling to the users experiences more ―actuating‖, revealing inclusive, the unidirectional nature of the television. In this type of TV, the digital TV journalism, already operating in many countries, is multimedia, interactive and multidimensional. Because so, this dissertation proposal intent to produce reflections about the journalism to be disseminated by this new TV, recently even in Brazil, pointing the perspectives of development of interactive platforms.
No Brasil, o telejornal teve origem em 1950, em uma estrutura simples, sem muitos recursos audiovisuais. Contudo, ao longo dos anos, incidiram-se transformações na produção dos telejornais, evidenciadas principalmente pelas seguintes características: o uso do videotape, a emissão de conteúdos a distância, a difusão em cores, o início da televisão por assinatura, o surgimento da Internet. Tais inovações asseguram que o advento das novas tecnologias para televisão propicia, em consequência, o desenvolvimento do telejornalismo, forçando-o a rever seus respectivos conceitos e paradigmas. Um exemplo que atesta esta questão é o fato dos telejornais revelarem a necessidade de estabelecerem novos formatos, disponibilizando a participação dos telespectadores, baseados nos pressupostos interativos do ciberespaço, potencial fomentador de conteúdo, onde se valoriza a autonomia do internauta. Entretanto, cabe ressaltar que essa participação ainda encontra limitações na própria tecnologia analógica, o que significa mencionar que para haver o diálogo entre emissora e audiência, esta tem que recorrer às outras diversas mídias coexistentes. Neste contexto, tem origem a TV digital brasileira, uma mídia com resolução superior a da TV convencional e que permite a emissão simultânea de mais informações e serviços interativos, sendo estes os principais diferenciais, por permitirem aos usuários experiências muito mais atuantes, desvelando-se, inclusive, do caráter unidirecional da televisão. Neste tipo de TV, o telejornalismo digital, já em operação em variados países, é multimídia, interativo e multilinear. Assim sendo, esta proposta de dissertação intenta produzir reflexões acerca do jornalismo a ser veiculado por esta nova TV, ainda recente no Brasil, apontando as perspectivas de desenvolvimento de plataformas interativas.
36
Konuslu, Firat. "Production And Labor Process Of The Contemporary Turkish Private Television Series." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614688/index.pdf.
Full textAbstract:
This thesis focuses on one of the most appreciated products of the Turkish Television, the TV Series'production and labor process. Starting from the fact that the production side of this highly attention gathering media product hasn'
t received too much academic concern, by analyzing the workers of the sector, this point is tried to be illuminated. This thesis that analyzes TV series'
working conditions in the perspective of &ldquo
precarious employment&rdquo
departing from this framework, argues the workers of the industry are fragmented into two groups, &ldquo
creative&rdquo
and &ldquo
technical&rdquo
workers. In this context it indicates the creative workers not only as not being affected from the precarious employment conditions too much but also as the executor of the technical workers'
experience of precariousness in the production level.
37
Craig, Shelley. "Stereo audio for television : practical problems in audio post-production techniques." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63957.
Full text
38
Tsai, Claire Yi-Ping. "Chasing deadlines and crossing borders : translation in Taiwan television news production." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/879/.
Full text
39
González, Molina Gabriel. "The production of Mexican television news, the supremacy of corporate rationale." Thesis, University of Leicester, 1990. http://hdl.handle.net/2381/34589.
Full text
40
Lee, David John. "Precarious creativity : Working lives in the British independent television production industry." Thesis, Goldsmiths College (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.514304.
Full text
41
Sellers, Benjamin Bart. "A General Framework for Interactive Television News." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3357.
Full textAbstract:
We design a complete interactive television news system. We develop a news production system that allows for the creation of flexible, content-rich interactive news. This system embraces a general creation process to interactive news that is built on top of a newscast model that evolves from and conforms with the current production newscast model. It allows for content sharing and content reuse. We also create an interactive news viewing system that adapts well to a living room environment. It contains several interactive features designed to give the viewer control and allow them to watch the news when, where, and how they want to. We perform a formative evaluation through a user study and interviews. Our results show that the production system allows fast, quality construction of interactive news. Viewers enjoy the interactivity and control the viewing system provides, but more work needs to be done to improve ease of use. Our system increases extra content visibility and usage over previous studies through additional features, more content, and direct invites to viewers. We also produce and deliver the news over an entire two-week period to a large number of viewers, making it the largest study done according to our knowledge.
42
Franzão, Cláudia Regina da Silva [UNESP]. "A Intertextualidade geradora de sentido no gênero desenho animado de núcleo familiar Os Simpsons." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/89379.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:24:02Z (GMT). No. of bitstreams: 0
Previous issue date: 2009-08-24Bitstream added on 2014-06-13T19:48:04Z : No. of bitstreams: 1
franzao_crs_me_bauru.pdf: 1357851 bytes, checksum: 5982c481b93745053f2cfcd1cc1fef12 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Diante dos vários aspectos que envolvem a produção de sentido, o presente estudo tem como objeto de pesquisa a série de desenho animado Os Simpsons, na qual, por meio da análise de sua intertextualidade como gestora da paródia simpsoniana, pretende-se traçar um paralelo entre paródia e intertextualidade na construção de um texto de entendimento aparentemente globalizdo, mas que também guarda significações e intenções mais profundas em suas entrelinhas. Ao desfiar o possível caminho almejado pelos autores com seu texto parodístico sob o viés da produção da produção de sentido pela Comunicação Midiática, apresenta-se a análise de cinco episódios (1997-2007), cuja intertextualidade, muitas vezes explicita, remete principalmente a textos televisivos, literários, sócio-históricos e expressões lingüísticas próprias não só da Cultura americana, mas também da Cultura ocidental como um todo. Para exame de nosso recorte temporal sob o enfoque da Comunicação Midiática, nos servimos de referencial teórico de várias áreas, entretanto, o texto produzido pauta-se fortemente nas teorias de Análise do Discurso, Semiótica e Novas Teorias da Comunicação.
Having in mind that meaning generation involves several aspects to be considered, this research is developed on The Simpsons text, on which, through an intertextual analysis of the simpsoninan parodistic text, we intend to outline a parallel between parody and intertextuality when a product of apparently globalized understanding is build up, but which also keeps both deeper meanings and intentions between its lines. While examinig probable desired meaning by the authors of the series, we present a five-episode analysis (1997-2007), whose intertextuality, most time shown explicitly, reminds the viewers to television enuncations, literature texts, social-historic texts and linguistics expressions used not only in the American Culture, but also in the Western Culture as a whole. To exam our time patch under the Meida Culture focus, we were served theory knowledge from several related areas, however, the produced text is based firmly on theories from Discourse Analysis, Semiotics and the New Theories about Communication.
43
Burkhardt, Joseph W. "An examination of the current utilization of television production in Pennsylvania high schools." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1999. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M.S.)--Kutztown University of Pennsylvania, 1999.Source: Masters Abstracts International, Volume: 45-06, page: 2804. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 57-60).
44
Dover, Caroline Jane. "British documentary television production : tradition, change and 'crisis' within a practitioner community." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395608.
Full textAbstract:
This thesis will examine the professional identity, beliefs and practices of documentary programme-makers working in British television in the late 1990s. The principal purpose of this enquiry is to understand the ways in which traditions of genre and profession are influential within current documentary programme-making and how these traditions interact with structural and ideological changes within the British broadcasting industry. Original research findings presented here describe and analyse: changes in the types of documentary programmes broadcast during the 1990s; transformations in the production process; public debates about documentary television that took place in 1998/1 999; practitioners' production experiences and their perceptions of profession and genre. It is argued that documentary directors/producers comprise a symbolic community that is conceptually constructed through common practices, shared guidelines and traditions. Although documentarists' claims for documentary-making are sometimes contradicted by the practical realities of their work, the community and its associated traditions are particularly important to practitioners when industry change prompts fears of a "crisis" in their profession. The general theoretical aim is to describe and analyse relational and discursive aspects of both professional identity and cultural production within the context of a changing industry. Contained within the thesis is an exploration of the academic fields within which this study is sited, a discussion of the theoretical and methodological approach adopted and presentation of the findings arising from the programme survey (including a comparative study of documentary television in the United States) and the ethnographic-type research conducted with documentary television practitioners.
45
Cheema, Munira. "The production and reception of gender-based content in Pakistani television culture." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54446/.
Full text
46
Abd, Karim Nur Kareelawati Binti. "The production culture of religious television : the case of the Islam Channel." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13341/.
Full textAbstract:
Drawing on media sociology and cultural studies approaches, this thesis aims to conceptualise the production culture of religious television. The study of production culture emphasises ‘collective, daily cultural performance involving symbolic codes, [and] conventionalized power hierarchies’ within media organisation (Caldwell, 2008, p. 342). The study of production culture of Islam-based television is important as it stands to aid our understanding of how religious television programming – and in particular, Islamic television programming – comes to take the form it does. It might also enhance our understanding of how and under what conditions television production employees produce television programmes. By combining participant observation and interviews with textual analysis, this study analyses the complex ways in which television production workers adapt to the resource limitations and ideological constraints within the production culture of a television channel. It analyses both the production quality of a magazine talk show called Living the Life and the quality of working life amongst members of its production community. This thesis argues that the diminished quality of working life exhibited by television production workers contributes to the poor production quality of a magazine talk show. Empirical findings reveal the ways in which the socioreligious and political mission of the channel shapes creative decision-making processes during the production of Living the Life. By exploiting the religious idea of ‘work as a mission,’ the channel motivated its television production employees to work with limited resources and, subsequently, to become more vulnerable to self-exploit whilst striving for the ‘deferred reward’ promised by God in the afterlife. Additionally, ideological constraints foster a ‘culture of caution’ amongst workers, which lessens both their creative autonomy and emotional well-being. Whilst research into television production offers rich insights into the employee’s experience of creative-commercial tensions and emotional work, this particular thesis demonstrates how religion shapes the production culture of a religious television organisation, thereby affecting the ways in which television production employees perceive their positions and manage emotions in their everyday working lives.
47
Dentlinger, Lindsay. "The representation of "South Africanness" in the locally produced television production, Generations." Thesis, Rhodes University, 2000. http://hdl.handle.net/10962/d1002878.
Full textAbstract:
The aim of this study is to analyse selected episodes of the locally produced television programme Generations, in order to identify specific ways in which the programme seeks to forge a South African identity, and in so doing, 'flag' our nationhood as South Africans. These elements of 'South Africanness' are broadly defined as connections to a South African way of life, context, values and experiences. Generations is a programme produced under South African broadcasting local content provisions. These provisions arise out of the need, inter alia, to reflect the identity and multi-cultural nature of South Africa in order to foster 'national identity' and 'national culture'. These elements of 'South Africanness' are extracted through a genre and ideological analysis of selected sample episodes, taking into consideration the theoretical frameworks of the politics of representation and identity. The production context of, and representations made, in Generations, are found to be situated largely within the context of the South African discourses of the ‘rainbow nation', 'African renaissance' and 'black economic empowerment'. The analysis concludes that through the various categories of representations of 'South Africanness' in the selected episodes of Generations, specific instances of identity, that of national culture and national identity are formed.
48
Berrios, Cynthia Gredel. "The design, implementation and production process of creating a viable series of Latin shows in Hollywood, Florida." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1711.
Full textAbstract:
The purpose of this research was to design and implement a Series of Latin Shows to be featured at the Satine Restaurant located in The Diplomat Hotel in Hollywood, Florida.
Three shows were created: "Electro Tango," "Bossa Nova Jazz," and "Piel Canela Night" to help generate interest for not only the Satine Restaurant but also for the surrounding area. The artistic concept included big bands, costumes, dancers and a DJ.
A production book was created and included the most important aspects of the individual shows such as budgets, costumes, and ground plans, to assure the success of each event. Careful analysis was done for the demographic area and a marketing plan was designed and implemented.
The research and practical application of similar shows in the industry determined that the production of these particular shows, although costly, have a qualifiable chance to succeed in this venue.
49
Penn, Charles E. "A study of local television programming with respect to the African-American community the conception, development and production of "Harambe" /." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1993. http://www.kutztown.edu/library/services/remote_access.asp.
Full textAbstract:
Thesis (M.S.)--Kutztown University of Pennsylvania, 1993.Source: Masters Abstracts International, Volume: 45-06, page: 2718. Abstract precedes thesis as title page [6] preliminary leaves. Typescript. Includes bibliographical references (leaves 202-206).
50
Green, David Robert. "M-Net decoder production : a technical analysis." Thesis, Cape Technikon, 1989. http://hdl.handle.net/20.500.11838/1130.
Full textAbstract:
Thesis (Masters Diploma (Technology))--Cape Technikon, Cape Town, 1989The document initially describes the operation of the decoder and the production system. Thereafter actual engineering problems are stated and their solutions discussed. The project involves the accurate identification of problem areas on the production line and the systematic solving for each case. Subjects include static electricity pretesting and automatic insertion machine defects. Analysis of these problems provides one with a better perspective towards the production line and its inherent problems. Results and solutions are presented photographically as well as tabulated in the annexure. In some cases, such as defect classification, deductions were concluded that were very different from those initially expected.