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Journal articles on the topic 'Television productions'
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1
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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Griffin, Ken. "The Pioneer Vanishes: Midnight Oil and the Birth of Adult Education Television." Journal of British Cinema and Television 12, no. 2 (April 2015): 172–90. http://dx.doi.org/10.3366/jbctv.2015.0256.
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The pioneering work of Ulster Television (UTV) in the field of adult education television is among the most neglected chapters of UK regional broadcasting history. Between July 1962 and August 1963 the station produced 73 televised lectures in association with Queen's University, Belfast. UTV's initial effort, Midnight Oil (1962), was the first ever adult education series on UK television, while its sequel, The Inquiring Mind (1963), explored the medium's potential as an illustrative educational tool. Both series prefigured key aspects of the television broadcasts which supported the subsequent Open University. Their audience ratings also challenged established wisdom about the potential reach of televised adult education. Despite their innovative nature, UTV's series have been marginalised within accounts of the origins of adult education television in the UK. Such narratives have tended to focus on later English productions and generally identify Anglia Television's Dawn University (1963) as the first precursor to the Open University. One account, Sendall (1983) , even questioned the veracity of the UTV's claim to have brought adult education television to the UK. This article establishes the extent and nature of UTV's contribution to adult education television before examining the factors which may have led to the marginalisation of its role within narratives surrounding UK broadcasting history.
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Smart, Billy. "Three Different Cherry Orchards, Three Different Worlds: Chekhov at the BBC, 1962–81." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 65–76. http://dx.doi.org/10.7227/cst.9.3.7.
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Unlike the theatre, there is no established tradition of plays being revived (new productions made from existing scripts) on television. The only instance of this mode of production in Britain has been the regular adaptation of classic theatrical plays. The existence of three separate BBC versions of Chekhov's The Cherry Orchard (1962, 1971, 1981) creates a rare opportunity to trace developing styles of direction and performance in studio television drama through three different interpretations of the same scene. Through close analysis of The Cherry Orchard, I outline the aesthetic and technological development of television drama itself over twenty years.
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Pajala, Mari. "A Forgotten Spirit of Commercial Television? Co-Productions Between Finnish Commercial Television Company Mainos-Tv and Socialist Television." Historical Journal of Film, Radio and Television 39, no. 2 (October 30, 2018): 366–83. http://dx.doi.org/10.1080/01439685.2018.1527063.
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Sullivan, Patrick. "Hanna-Barbera’s Cacophony: Sound Effects and the Production of Movement." Animation 16, no. 1-2 (July 2021): 21–35. http://dx.doi.org/10.1177/17468477211025660.
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Zaps, crashes, boinks, and bangs flooded TV’s airwaves with the rise of Hanna-Barbera Productions at the end of the 1950s, and these sound effects have been heard ever since. Hanna-Barbera Productions created and proliferated one of the most recognizable collections of sounds in television and animation history. This article traces the formation of Hanna-Barbera’s library of sound effects and how these sound effects operate within the studio’s cartoons. Motored by television’s demanding production schedule and restrictive budgets, Hanna-Barbera persistently recycled its sound effects across episodes, seasons, and series. These sound effects, heard over and over again, were paired to the studio’s brand of limited animation – a form of animation that is often seen as kinetically wanting – to enliven images through sonically invoking movement, what this article calls trajectory mimesis. This logic of trajectory mimesis facilitates the repetition of the studio’s sound effects. These conditions – television’s economic restraints and the studio’s limited animation aesthetics –provided the ideal conditions for the creation of Hanna-Barbera’s iconic library of sound effects.
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Zanker, Ruth. "Kumara Kai or the Big Mac Pak? Television for Six- to 12-Year-Olds in New Zealand." Media International Australia 93, no. 1 (November 1999): 91–102. http://dx.doi.org/10.1177/1329878x9909300110.
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The producers of local television for children in New Zealand face daunting challenges. No public-service channel exists in New Zealand's deregulated television environment and the country has a small population of 3 million. This paper draws on a year-long production case-study of a publicly funded flagship magazine program for six- to 12-year-olds and considers the strategies used by a range of other productions targeting the same audience. This paper raises questions about the rationale of current funding mechanisms.
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Garofalo, Damiano, and Angela Mancinelli. "A ‘means of distribution’: Federico Fellini and Italian television1." Journal of Italian Cinema & Media Studies 9, no. 1 (January 1, 2021): 27–43. http://dx.doi.org/10.1386/jicms_00049_1.
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This article will examine both the Fellinian imagery of television that is present in his films and the role of Fellini as a television ‘critic’. In the first part, we consider Federico Fellini’s entire filmography, focusing on the main cinematic texts that deal most explicitly with the world of television: Il bidone (The Swindle) (1955), La Dolce Vita (1960), Prova d’orchestra (Orchestra Rehearsal) (1979), Ginger e Fred (Ginger and Fred) (1986), Intervista (1988) and La voce della luna (The Voice of the Moon) (1989). In order to define Fellini’s thoughts on television and to compare this intellectual assertiveness to traces of his own involvement with several Italian television productions, we connect the analysis of his filmography with the study of Fellini’s comments, interviews and articles published in several Italian journals and magazines between the 1970s and 1980s. The aim of this article is to trace an organic relationship between Fellini and television, from the production of his films to his notes as an intellectual.
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Urazova, Svetlana Leonidovna. "Real Television as a Factor of Socio- Cultural Globalization." Journal of Flm Arts and Film Studies 3, no. 1 (February 15, 2011): 113–22. http://dx.doi.org/10.17816/vgik31113-122.
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The intrusion of digital technologies into television and the actively forming digital environment are encouraging the creators of audiovisual productions to look for new forms of representation. The article explores the Reality, one of the most provocative television formats, often called vanguard which is undergoing its second birth. The problem of the approaching era of real television is raised.
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Utomo, Ichsan Widi, and Christopher Yudha Erlangga. "IMPLEMENTASI MATERI PRODUKSI PADA IKLAN LAYANAN MASYARAKAT “Kita Indonesia”." JIKE : Jurnal Ilmu Komunikasi Efek 2, no. 2 (August 7, 2019): 270–82. http://dx.doi.org/10.32534/jike.v2i2.611.
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This study seeks to implement appropriate production management in the production of "Kita Indonesia" public service advertising produced by the broadcasting study program of the University of Bina Sarana Informatika communicating with the Ministry of Home Affairs of the Republic of Indonesia. In this production special production theories are applied that are in accordance with the concept of production of public service advertising. This production is different from the production of television programs related to no drama but does not cover estimation Production material can be used in the production of community service advertisements "Kita Indonesia", although not in the television program category.
Keywords: Production Management, Productions Materials, Public Service Ads
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Roussou, Nayia. "Research Note: Cypriot Television, Dialect Productions and Demotic Culture." European Journal of Communication 21, no. 1 (March 2006): 89–99. http://dx.doi.org/10.1177/0267323106060992.
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Dunleavy, Trisha. "Transnational co-production, multiplatform television and My Brilliant Friend." Critical Studies in Television: The International Journal of Television Studies 15, no. 4 (November 17, 2020): 336–56. http://dx.doi.org/10.1177/1749602020953755.
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Rai/HBO co-production L’Amica Geniale/ My Brilliant Friend (2018–) provides an illuminating example of changing strategies for transnational drama co-production in television’s burgeoning ‘multiplatform’ era. Foregrounding institutional over textual analysis, the article places My Brilliant Friend ( MBF) within the industrial, creative and cultural contexts that have facilitated it. Important to these contexts is that transnational co-productions between non-US broadcasters and US-based premium networks are not only increasing but also exhibiting a new degree of cultural diversity. The article examines MBF’s origination as a literary adaptation, its genesis as a ‘cross-platform’ co-production, and its exemplification of changing drama commissioning strategies for Rai and HBO.
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Loads, Matthew. "Transmedia Television Drama: Proliferation and Promotion of Extended Stories Online." Media International Australia 153, no. 1 (November 2014): 41–52. http://dx.doi.org/10.1177/1329878x1415300106.
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This article reports on a study of additional transmedia content that is available online in relation to all Australian television drama productions and high rating international drama productions in a five-month period, between January and June 2012. In particular, it asks what additional material exists, and develops a typology of different types of content in order to further explain the current state of play in Australian production. The study examines extended storytelling texts developed specifically for the internet, like ‘webisodes’. It also considers other video and further content that can be based on extending the story world of a program. This article presents and examines the results of the study, arguing that this material can be seen to support the idea of an industry in transition. It finds that there are differences in approach to this type of content between public, free-to-air commercial and subscription broadcasters. Children's television programs are seen to offer the most sophisticated approach online at this time.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (November 2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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Stollery, Martin. "Biography, Craft, Creative Labour: The Timeliness of Dai Vaughan's Portrait of an Invisible Man: The Working Life of Stewart McAllister, Film Editor." Journal of British Cinema and Television 12, no. 3 (July 2015): 277–99. http://dx.doi.org/10.3366/jbctv.2015.0266.
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Dai Vaughan's Portrait of an Invisible Man: The Working Life of Stewart McAllister, Film Editor has long been the type of book critics and historians ritually acknowledge as an important contribution without engaging in any sustained analysis of precisely why this is the case. This article argues that Portrait deserves to be revisited in the light of current debates about craft and creative labour in the film and television industries. There is an enormous amount of craft involved in film and television production, yet this has not yet been discussed in relation to the current resurgence of interest in craft more generally. The article also deploys Portrait to open up historical perspectives on the spate of recent work on creative labour in contemporary British film and television. It concludes with a comparison between McAllister's work and the editing of the most recently emergent category of British documentary – fixed-rig productions such as 24 Hours in A&E. Specific issues explored include: the analysis of film and television production processes in relation to historically contingent conceptions of art and craft; film and television technicians and autonomy; self-exploitation within British film and television production cultures characterised by a public service ethos; perspectives on the creative individuality of film and television technicians; and the transmission of craft skill within these contexts.
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Adamou, Christina. "REVISITED: Answering the Question." Samuel Beckett Today / Aujourd'hui 15, no. 1 (November 1, 2005): 201–10. http://dx.doi.org/10.1163/18757405-015001018.
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This article reads the two productions of for the screen, focusing on the ways in which they relate to modernism and postmodernism. The readings draw on methodologies developed for television drama and film and seek to draw attention to the role that aesthetics, production contexts and cultural assumptions may play in reading and 'classifying' a production.
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Pillai, Nicolas, and Vanessa Jackson. "How television works: Discourses, determinants and dynamics arising from the re-enactment of Jazz 625." Journal of Popular Television 9, no. 1 (March 1, 2021): 139–57. http://dx.doi.org/10.1386/jptv_00046_1.
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Re-enactment can enable participatory researchers to ‘experience’ through qualitative ethnography the dynamics of how teams of practitioners employ tacit skills to make decisions and collaborate. This article explores the practice-as-research re-enactment of a historic 1960s television show, Jazz 625 (1964–66). With the emphasis on the process rather than the product through the production of a modern-day interpretation of the original – entitled Jazz 1080 – the researchers draw conclusions around the complex workings of a television production team through the creation of a new artefact. The empirical research captures how professional attitudes and institutionalized forms of collaborative creative labour shape programme-making. Comparisons are made between the original and re-enacted productions, with the conclusion being made that, despite advances in technology, the practices and processes of television production are remarkably similar between the 1960s and the early twenty-first century.
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Cheuk, Fiona N. "Review of The Fan Fiction Studies Reader, Eds. Hellekson, Karen., and Kristina Busse (2014)." Canadian Journal of Disability Studies 8, no. 2 (April 28, 2019): 279–93. http://dx.doi.org/10.15353/cjds.v8i2.501.
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Disability is often absent in both the content and the production levels of Western film and television media, and other popular cultural productions. They rarely include disability except as plot devices that invoke ableist tropes such as: tragedy, pity, or a temporary challenge for non-disabled characters to overcome, or as lessons for the main character to learn from, and many more. In the Ruderman white paper on Employment of Actors with Disabilities in Television, Woodburn and Kopic found that 95% of disabled characters in the top ten US television shows were played by non-disabled actors (2016). Yet, these marked absences of disability from popular media has not been reflected in the numerous fan creations produced by fan communities in tribute to their favourite fandom.
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Ward-Griffin, Danielle. "As Seen on TV: Putting the NBC Opera on Stage." Journal of the American Musicological Society 71, no. 3 (2018): 595–654. http://dx.doi.org/10.1525/jams.2018.71.3.595.
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This article examines the relationship between opera on television and opera on the stage in America in the 1950s and 1960s. Using the NBC Opera (1949–64) as a case study, I trace both what television borrowed from the operatic stage and what television sought to bring to the stage in a relationship envisioned by producers as symbiotic. Focusing on the NBC's short-lived touring arm, which produced live performances of Madam Butterfly, The Marriage of Figaro, and La traviata for communities across America in 1956–57, I draw upon archival evidence to show how these small-scale stage productions were recalibrated to suit a television-watching public. Instead of relying on the stylized presentation and grand gestures typical of major opera houses, the NBC touring performances blended intimate television aesthetics with Broadway typecasting and naturalistic direction. Looking beyond the NBC Opera, I also offer a new model for understanding multimedial transfer in opera, one in which the production style of early television opera did not simply respond to the exigencies of the screen, but rather sought to transform the stage into a more intimate—and supposedly more accessible—medium in the mid-twentieth century.
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Yoshizawa, Akira. "Equipment for high-definision television. 8. The current status of the high-definition television program productions." Journal of the Institute of Television Engineers of Japan 39, no. 8 (1985): 700–704. http://dx.doi.org/10.3169/itej1978.39.700.
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Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (August 5, 2014): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26295.
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The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of majornetworks intervention policy towards the local market
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Lusvarghi, Luiza. "Profugos: new formats and regionalization in Latin American television serial fiction." C-Legenda - Revista do Programa de Pós-graduação em Cinema e Audiovisual, no. 29 (December 29, 2013): 08. http://dx.doi.org/10.22409/c-legenda.v0i29.26287.
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The resumption of audiovisual productions in Latin America during the 1990s have not onlyaffected the cinematographic sphere, but TV production as well. The latest production aimed at exploringthis genre is a Chilean series co-produced with HBO Latin America named Profugos (Runaways), featuringfour popular local actors and directed by Pablo Larraín of the acclaimed film Tony Manero (2008,Brazil/Chile). Profugos shows that definitely soap opera is no longer the only Latin American fictionalformat, besides dialoguing with the action genre global tradition, also marking the consolidation of majornetworks intervention policy towards the local market
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Çelik, Burçe. "Screening for Erdoğanism: Television, post-truth and political fear." European Journal of Communication 35, no. 4 (February 28, 2020): 339–54. http://dx.doi.org/10.1177/0267323120903680.
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The majority of current political communication studies focuses on digital and social media, and overlooks the centrality of television for the production and endurance of strongman politics in the Global South. By focusing on the journalistic television productions aired during the June 2018 election period in Turkey, this article unpacks the televisual logic that is incarnated in different modalities of telling and narrating of televisual genres. I propose two main themes: the ‘political fear’ of physical and social security threats, and ‘post-truth communications’ as the main televisual idioms for a vision of the future that is either secure or chaotic, that is, with or without Erdoğan. By combining political economy, content and textual analysis, I scrutinise the production dynamics of the televisual economy and the control and content of factual segments.
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Piazzolla, P., and M. Gribaudo. "Analysis of Television and Cinema Productions using Mean Field Models." Electronic Notes in Theoretical Computer Science 261 (February 2010): 91–108. http://dx.doi.org/10.1016/j.entcs.2010.01.007.
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Stjernholm, Emil. "GDR Cinema on Swedish Television." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 41. http://dx.doi.org/10.18146/view.259.
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This article studies the import of East German films by Swedish public service broadcaster Sveriges Radio, and their reception in the Swedish public sphere. While few GDR films reached theatrical distribution, Swedish television imported and broadcasted over 30 productions by the state-owned film studio DEFA during the 1970s and 1980s, making this the primary distribution window for East German film in Sweden. Relying on sources such as Sveriges Radio’s in-house correspondence and screening reports, the weekly Sveriges Radio magazine Voices in Radio/Television (Röster i Radio/TV) and the public service corporation’s annual reports, this study sheds light on the political, economic and ideological considerations involved in the cultural exchange between Sweden and the GDR.
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Coche, Roxane, and Benjamin J. Lynn. "Behind the Scenes: COVID-19 Consequences on Broadcast Sports Production." International Journal of Sport Communication 13, no. 3 (September 1, 2020): 484–93. http://dx.doi.org/10.1123/ijsc.2020-0231.
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Live events are central to television production. Live sporting events, in particular, reliably draw big audiences, even though more consumers unsubscribe from cable to stream content on-demand. Traditionally, the mediated production of these sporting events have used technical and production crews working together on-site at the event. But technological advances have created a new production model, allowing the production crew to cover the event from a broadcast production hub, miles away, while the technical crew still works from the event itself. These remote integration model productions have been implemented around the world and across all forms of sports broadcasting, following a push for economic efficiency—fundamental in a capitalist system. This manuscript is a commentary on the effects of the COVID-19 global crisis on sports productions, with a focus on remote integration model productions. More specifically, the authors argue that the number of remote sports productions will grow exponentially faster, due to the pandemic, than they would have under normal economic circumstances. The consequences on sport media education and research are further discussed, and a call for much needed practice-based sports production research is made.
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De Keizer, Donny Perdana. "Citra Perusahaan dalam Tayangan Acara Televisi Lokal." Humaniora 1, no. 2 (October 31, 2010): 577. http://dx.doi.org/10.21512/humaniora.v1i2.2898.
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This paper is about effectiveness imaging event through shows in television local, TVRI Yogyakarta, as government television media main based in Yogyakarta. Limited national budget as TVRI Yogyakarta’s only capital to hold productions in addition to government regulation and limited commercial productions, urges managers to be more creative in creating cooperation chances due to increase income. TVRI, which now as Public Broadcasting Organization, serves public interest with allocated budget by the Nation. Producers’ creativity determines the amount of show sponsors support. There are many ways to maximize its income as a part of imaging in the community. The imaging is not just through advertisement or public service announcement, but also through picture, logo, and sound.
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Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.
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The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.
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McNaughton, Douglas. "‘Constipated, studio-bound, wall-confined, rigid’: The Influence of British Actors’ Equity on BBC Television Drama, 1948–72." Journal of British Cinema and Television 11, no. 1 (January 2014): 1–22. http://dx.doi.org/10.3366/jbctv.2014.0189.
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Critical orthodoxies around the multi-camera television studio characterise it as a ‘theatrical’ space, driven by dialogue and performance. Troy Kennedy Martin (1964) decried television drama's essential naturalism, demanding a more filmic form of drama in a polemic which has strongly influenced critical thinking on multi-camera studio television. Caughie (2000) suggests that Armchair Theatre created a ‘space for acting’, but in the main, the studio is seen as a constraining and interiorising dramatic site, in thrall to liveness and reliant on theatrical unities. This article draws on research at the BBC Written Archives to extend current understanding of the determinants working upon multi-camera, studio television up to and into the 1970s. It shows how the actors’ union Equity insisted on preserving continuous performance as a specific feature of television drama. While other determinants (technical, institutional and economic) of course come into play, Equity's insistence on ‘theatrical’ continuous performance inhibited the narrative and aesthetic possibilities of studio drama, resisted the move to rehearse-record studio taping, and delayed the turn to all-film drama production at the BBC. Drawing on key productions which acted as contentious ‘test cases’ for negotiations, this article explores tensions between institutional and artistic determinants, complicating technologically determinist accounts to argue for a greater understanding of the role of Equity in dictating material conditions of production in the multi-camera studio paradigm.
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De Castro, Maria Lílica Dias. "PROMOCIONALIDADE TELEVISUAL EM TEMPOS DE NOVAS TECNOLOGIAS." Revista Observatório 2, no. 4 (October 30, 2016): 301. http://dx.doi.org/10.20873/uft.2447-4266.2016v2especial2p301.
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Tendo em vista o reconhecido predomínio da televisão privada no país, em canal aberto, o objetivo do presente trabalho é investigar as relações entre essa mídia e os elementos de caráter econômico e tecnológico nela imperantes, analisando seus efeitos na especificidade da produção discursiva televisual, sobretudo aquela de caráter promocional. Para tanto, discute as propriedades da televisão no país, influência dos fatores econômico e tecnológico, relação entre tecnologia e discurso televisual, e o exame dessas repercussões em um programa da emissora. PALAVRAS-CHAVE: Televisão privada; economicismo e tecnologismo; produção discursiva; expansão e condensação; promocionalidade. ABSTRACT Given the recognized predominance of private television in the country, in open channel, the objective of this study is to investigate the relationship between these media and the elements of economic and technological character prevailing in it, analyzing their effects on specificity of televisual discourse production, especially that promotional character. Therefore, discusses the properties of television in the country, the influence of economic and technological factors, the relationship between technology and televisual discourse and examines the impacts on a broadcaster´s program. (TV Globo). KEYWORDS: Private television; economism and technologism; discursive production; expansion and condensation; promotion RESUMEN Dado el predominio reconocido de la televisión privada en el país, canal abierto, el objetivo de este estudio es investigar la relación entre los medios de comunicación y los elementos económicos y tecnológicos de carácter en que prevalecen, el análisis de sus efectos sobre la especificidad de la producción de discurso televisivo, especialmente que el carácter promocional. Por lo tanto, se analizan las propiedades de la televisión en el país, la influencia de los factores económicos y tecnológicos, la relación entre la tecnología y discurso televisivo y el examen de los impactos en un programa de radiodifusión (Rede Globo). PALABRAS CLAVE: La televisión privada; economicismo y tecnologismo; producción discursiva; expansión y la condensación; “promocionalidad”.
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Christian, Aymar Jean. "Expanding production value: The culture and scale of television and new media." Critical Studies in Television: The International Journal of Television Studies 14, no. 2 (May 16, 2019): 255–67. http://dx.doi.org/10.1177/1749602019838882.
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Web, or networked, distribution technologies have challenged the power of US media corporations, which set high technical standards for production value, a measure of content quality. Legacy TV companies privilege complex, seamless technical execution supported by large crews of workers – lighting, sound, design, visual effects – but exclude as producers culturally marginalised creators perceived as too risky for the big investment necessary to execute it. The internet disrupts these dynamics by allowing for the distribution of smaller scale TV and video productions that are independently or inexpensively made. In smaller scale work, cultural production value asserts more importance, as producers create with and for their community.
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Flanagan, Pamela. "The curated representation of Saga Norén: Interweaving narratives of fashion and interiors." Film, Fashion & Consumption 9, no. 1 (May 1, 2020): 99–124. http://dx.doi.org/10.1386/ffc_00014_1.
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Abstract Nordic Noir dramas have dominated the landscape of contemporary television, transforming the crime genre beyond the traditional English-speaking productions whilst forging a path for female protagonists to dominate. This article seeks to analyse the relationship between the narrative, fashion and interiors through the main female protagonist Saga Noren (Sofia Helin) in Bron/Broen (The Bridge) (2011‐18), the Danish-Swedish production of the Nordic Noir drama.
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Hagedoorn, Berber. "De poëtica van het verbeelden van geschiedenis op broadcast televisie." TMG Journal for Media History 20, no. 1 (June 26, 2017): 78. http://dx.doi.org/10.18146/2213-7653.2017.282.
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In modern society, television is one of the most important media for presenting the past. This article focuses on the poetics of history on television broadcasts in relation to the manner in which these broadcasts present our past as well as our collective memory. This study rebuts criticism of television as a medium for historical accounts by demonstrating how professionals in the field actively display an extensive knowledge and understanding of the past, provide frameworks for the contextualization of audiovisual materials and depth, and apply and operate specific functions of different representation tools in their productions. To gain insight into the way television producers interact with history, this study combines qualitative textual analysis of the broadcasts and an approach from the field of production studies: diverse in-depth interviews and analysis of internal documents. The case study chosen for this research was Andere Tijden, a history program based on archive material and produced by NTR (formerly known as NPS) and VPRO for the Dutch Broadcast Foundation, from 2000 onwards. The case study demonstrates how television producers’ mediation of history is an important practice in the search for history and memories and the conservation and presentation thereof. The analysis reveals the possibility of more cohesive poetics with regard to history on broadcast television and offers insight into the objectives, strategies and conventions of television producers. Special attention is paid to the more implicit practices of selection and interpretation of material by television producers as curators of the past. These implicit practices are made explicit on a cultural-historical, institutional and textual level.
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Dex, Shirley, Janet Willis, Richard Paterson, and Elaine Sheppard. "Freelance Workers and Contract Uncertainty: The Effects of Contractual Changes in the Television Industry." Work, Employment and Society 14, no. 2 (June 2000): 283–305. http://dx.doi.org/10.1177/09500170022118419.
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Changes in the competitive and regulative conditions of British television over the 1980s and 1990s make for an environment of increased uncertainty for those who work in television. Broadcasting legislation, increased competition and technological advances have changed the working practices of the UK's 28,000 production workforce. The introduction of a 25 per cent quota of independent productions on all terrestrial channels, the implementation of Producer Choice in the BBC and the creation of a Network Centre in ITV, leading to a new commissioning process along with merger rationalisation and increasing competition have all contributed to constructing a workforce in which over 50 per cent are freelance and face much uncertainty. This paper focuses on some of the ways workers have experienced and responded to these changes by analysing the postal questionnaire and diary-data collected in an eight-wave panel study of 436 creative production workers in British television 1994-97, collected by the British Film Institute. This paper considers whether uncertainty is a problem and finds that it is for the majority of these workers. The question of what makes uncertainty a problem is also considered. Individuals were found to cope with uncertainty by diversifying the income sources, by collecting information, building informal networks and by thinking of leaving work in television.
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Hill, John. "From Five Women to Leeds United!: Roy Battersby and the Politics of ‘Radical’ Television Drama." Journal of British Cinema and Television 10, no. 1 (January 2013): 130–50. http://dx.doi.org/10.3366/jbctv.2013.0126.
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Focusing on the work of the left-wing film and television director Roy Battersby, this article seeks to shed light on the issues at stake in the controversies surrounding the production and reception of ‘radical television drama’ during the late 1960s and early 1970s. Through an examination of a number of BBC productions that were either cut (Five Women), banned (Hit Suddenly Hit) or the subject of moral and political objections (The Operation and Leeds United!), the discussion indicates how arguments over ‘radical’ television drama involved a degree of shift away from concerns with the blurring of boundaries between ‘fact’ and ‘fiction’ towards a preoccupation with political ‘balance’ (that involved the application of criteria to drama that were originally reserved for documentaries). Although the period in question is often characterised as one in which the creators of television drama enjoyed substantial creative freedom to make work that challenged the status quo, this article also reveals how such work was far from the norm and often only got made, and shown, in the face of considerable opposition. The article therefore concludes with an assessment of some of the ideological and institutional constraints weighing upon ‘radical’ political expression in television drama at this time.
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Ortiz-Sobrino, Miguel Ángel, José Antonio Ruiz-San-Román, and Elba Díaz-Cerveró. "TV Broadcasters and Research on TV and Children." Comunicar 20, no. 40 (March 1, 2013): 137–44. http://dx.doi.org/10.3916/c40-2013-03-04.
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This paper describes the main contributions of the TV broadcasters in Spain to the study of the relationships between television and childhood. It is justified by the need of compile and organise these contributions. Quality contents broadcasted for children, children consumption of television and the role of TV channels to transfer a positive image of the childhood have been the mainstays of this text. The information that we report is the result of the study carried out from Observatorio Comunicación y Sociedad. Methodologically, consulting scientific bibliography about television and childhood has made possible to put our study into context. After that, the use of questionnaire to people responsible of contents broadcasted for children by the main Spanish TV channels, and the analysis of the different experiences and work papers prepared by televisions, have allowed to create a setting with the broadcasters’ main contributions to a new paradigm which improves the relationship between minors and television. The conclusion from the analysis and the consultation to experts point that, except in the case of the public state television and some regional televisions, the research and the redesign of the childhood/television relationship is not one of the channels priorities. In fact, only TVE has an important scientific production in this field.Este artículo describe las principales aportaciones de las televisiones españolas al estudio y reformulación de la relación entre televisión e infancia. La necesidad de recabar y organizar a lo largo del tiempo esas contribuciones justifica este trabajo. Los contenidos infantiles de calidad, el consumo infantil de televisión, y el papel de las cadenas televisivas para trasladar a la ciudadanía una imagen positiva de la infancia, han sido los ejes vertebradores sobre los que se ha fundamentado este texto. Los datos aportados son el resultado de un estudio llevado a cabo desde el Observatorio Comunicación y Sociedad. Metodológicamente, la consulta de bibliografía científica sobre la televisión y la infancia ha permitido contextualizar este estudio. Posteriormente, la utilización de una microencuesta a los responsables de contenidos infantiles de las principales cadenas televisivas españolas, y el análisis de las diferentes experiencias y documentos de trabajo elaborados por las televisiones, han permitido construir un escenario con las principales aportaciones de las emisoras a un nuevo paradigma que mejore la relación de los menores con la televisión. Las conclusiones más destacadas extraídas del análisis y de las consultas con los expertos apuntan a que, salvo en el caso de la televisión pública estatal y de algunas televisiones autonómicas, la investigación y reformulación del binomio infancia/televisión no es un objetivo prioritario para las cadenas. De hecho, solo TVE tiene producción científica relevante en la materia.
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Shergova, Ksenia A., and Aleksey B. Muradov. "Artistic features of Russian TV serials about the Great Patriotic War." Journal of Flm Arts and Film Studies 11, no. 2 (June 15, 2019): 140–52. http://dx.doi.org/10.17816/vgik112140-152.
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The essay represents the first effort to explore the artistic methods employed in the TV series about World War II (the Great Patriotic War) and analyzes four multi-episode TV shows released in 2004. In its own way, each of these series responded to the new public interest in the less known aspects of the war. Simultaneously, each of them established a dialogue with the previous cinematic and TV productions, comprising direct reminiscences to earlier films, objectivizing the audience expectations formed by earlier productions, or even arguing with them. This dialogic trend should be considered as part of the postmodernist framework of contemporary television: reminiscences of popular post-war films or literal or visual citations from these films become an integral part of contemporary cinema and television and also act as documentary-like reference points.
In all reviewed cases, the authors emphasize adventure narratives well suited for TV presentation and rendered even more spectacular by modern visualization technologies. The producers are confronted with a contradiction between the chosen historical context and imaginary plotlines: it is quite difficult to put the series characters within the imaginary space, depriving them of the well-known facts, especially those propagated in earlier film and TV productions. Inevitably, each plot is aggressively influenced by the tragedy of the little man, in which the place of the enemy occupied in the Soviet tradition by the Gestapo and the Abwehr is replaced by the repressive Soviet state security services. Even a decade after its release, Shtrafbat (The Penal Battalion) plays a major role in the public and professional discussion on the ethics of war-related films and television series. Meanwhile, At a Nameless Height, a series which contains even more reminiscences to Soviet film and television productions, should be regarded as one of the earliest works in which the sense of authenticity was sacrificed to the imaginary expectations of the viewers expectations formed by the Soviet historical and cultural framing.
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Garofalo, Damiano, Dom Holdaway, and Massimo Scaglioni. "Canned Television Going Global." Canned TV Going Global 9, no. 17 (August 31, 2020): 1. http://dx.doi.org/10.18146/view.257.
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This special issue of VIEW focuses on the international circulation and distribution of ready-made content, in the form of scripted products. The following essays share an interest in considering the nuances in power dynamics (adaptation, localization, revision) that are bound to any transnational movements. They also address a fruitful variety of problems and points of view that signal the wider potential of this field of research: the transnational circulation of TV content and the currently used market strategies; common ground and cultural proximity in certain cultural groups and/or regions; the role of European countries and markets in the development of international distributed content, and their impact beyond the continent; the emerging role of OTT services in the internationalization of programming; the growing role played by curation and personalization in order to gain a competitive edge; the functions of “niche” content (such as arts programming) and or particular audience groups (such as the LGBTQIA+ community and its allies), and how these adapt to border-crossings; co-productions, but also co-distributions between different countries (such as China and the UK); processes of localizing and adapting foreign ready-made content, for example through dubbing, subtitling and voice overs; and the role of bottom-up circulation.
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Boross, Balázs, and Stijn Reijnders. "Dating the Media: Participation, Voice, and Ritual Logic in the Disability Dating ShowThe Undateables." Television & New Media 20, no. 7 (June 20, 2018): 720–38. http://dx.doi.org/10.1177/1527476418782184.
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Interventional television formats centering around the ritual transformation of “ordinary people” are not only followed by sizable audiences worldwide but also attract large numbers of aspiring candidates. Although the benefits and consequences of participating in such shows have long been debated within academia and beyond, research into actual experiences of participating in such television productions remains scarce. Based on in-depth interviews with participants of the disability dating show The Undateables, this article focuses on how contributors deal with their position in the production and how their experiences reflect the emancipatory claims of the program. By presenting the production process through the story and from the perspective of three participants, different modes of participation will be discussed, revealing how instances of submission, appropriation, and contestation of the production logic are linked to ideals of representation, notions about empowerment and voice, and to strategies of negotiating normalcy and difference.
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Almeida, Mariana. "DROGADIÇÃO, SOFRIMENTO E TELENOVELA: DIMENSÕES DE ESTILO EM VALE TUDO E EM VERDADES SECRETAS." Aturá - Revista Pan-Amazônica de Comunicação 3, no. 1 (January 16, 2019): 123–45. http://dx.doi.org/10.20873/uft.2526-8031.2019v3n1p123.
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Utilizando o melodrama como uma de suas principais bases de construção narrativa, a telenovela atua como espaço privilegiado de problematizações sociais do país (HAMBURGER, 2011) e de sujeitos em situação de sofrimento (LAGE, 2017), a partir de valores morais, do apelo realista e da experiência visual e sonora que atuam como aliados no processo. Nesse contexto, a drogadição, com suas consequências internas e externas aos sujeitos viciados, tem sido tema frequente dessas narrativas. Partindo das possibilidades analíticas do estilo televisivo, constituído por aspectos materiais e imateriais que englobam condições e possibilidades diversas no texto televisivo (ROCHA, 2016), propomos um ensaio analítico sobre os modos de construção estilística do sofrimento associado às experiências de drogadição de duas personagens: Helena, de Vale Tudo (1988), e Larissa, de Verdades Secretas (2015). Compreendemos que, com a leitura nuançada dessas produções, as peculiaridades de estratégias comunicativas do sofrimento de dependentes químicos na ficção televisiva brasileira tornam-se mais evidentes e acompanham mudanças e/ou permanências formais, sensíveis, sociais e morais ocorridas ao longo dos quase 30 anos que separam as personagens.
PALAVRAS-CHAVE: telenovela, drogadição, sofrimento, estilo televisivo.
ABSTRACT Using the melodrama as one of its main bases of narrative construction, the soap opera acts as a privileged space of social problematizations of the country (HAMBURGER, 2011) and of subjects in a situation of suffering (LAGE, 2017), based on moral values, the appeal realistic and visual and sound experience that act as allies in the process. In this context, drug addiction, with its internal and external consequences to the addicted subjects, has been a frequent theme of these narratives. Based on the analytical possibilities of the television style, constituted by material and immaterial aspects that encompass different conditions and possibilities in the television text (ROCHA, 2016), we propose an analytical essay on the ways of stylistic construction of suffering associated with the experiences of drug addiction of two characters: Helena, from Vale Tudo (1988), and Larissa, from Verdades Secretas (2015). We understand that, with the nuanced reading of these productions, the peculiarities of communicative strategies of the suffering of chemical dependents in Brazilian television fiction become more evident and accompany changes and / or formal, sensitive, social and moral changes that occurred during the almost 30 years that separate the characters.
KEYWORDS: soap opera; drug addiction; suffering; television style.
RESUMEN
La telenovela actúa como espacio privilegiado de problematizaciones sociales del país (HAMBURGER, 2011) y de sujetos en situación de sufrimiento (LAGE, 2017), a partir de valores morales, de la apelación realista y de la experiencia visual y sonora que actúan como aliados en el proceso. En ese contexto, la drogadicción, con sus consecuencias internas y externas a los sujetos viciados, ha sido tema frecuente de esas narrativas. A partir de las posibilidades analíticas del estilo televisivo, constituido por aspectos materiales e inmateriales que engloban condiciones y posibilidades diversas en el texto televisivo (ROCHA, 2016), proponemos un ensayo analítico sobre los modos de construcción estilística del sufrimiento asociado a las experiencias de drogadicción de dos personajes: Helena, de Vale Tudo (1988), y Larissa, de Verdades Secretas (2015). Comprendemos que, con la lectura nunciada de esas producciones, las peculiaridades de estrategias comunicativas del sufrimiento de dependientes químicos en la ficción televisiva brasileña se vuelven más evidentes y acompañan cambios y / o permanencias formales, sensibles, sociales y morales que se producen a lo largo de los casi 30 años que separan a los personajes.
PALABRAS CLAVE: telenovela; drogadicción; sufrimiento; estilo televisivo.
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Rofil, Lily El ferawati. "Watching self from a distance: The whys of watching sinetrons among Malay-Javanese women in Malaysia." INFORMASI 47, no. 2 (December 28, 2017): 285. http://dx.doi.org/10.21831/informasi.v47i2.17377.
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This article discusses the cognitive reasoning behind the love for watching sinetron expressed by Malay-Javanese women in Malaysia. The Malay-Javanese women in this context refer to female members of Javanese communities within Malay society. Malaysians of Javanese descent are constitutionally considered as ethnic component of Malay racial group due to similarities in cultural customs and religion of Islam. However, they retain some semblance of Javanese cultural heritage including speaking the language in their everyday life. In the context of Malay-Javanese women under this study, it is identified that sinetrons have become the main source of their cultural consumption from television. Sinetrons are soap opera-like television productions from Indonesia—the country where their ancestors were originated from. The results from ethnographic fieldwork in Kampung Papitusulem of Selangor show how these women incline to watching sinetrons to a certain level, primarily due to three main reasons. First, the dialogues in the television productions fit their language preference. Second, they can find representations of their cultural identity in the images of sinetrons. Third, they watch the imported television program from Indonesia simply for the identification of sense of belonging. It is argued that viewing sinetrons for these women represents watching self from a distance, which is central discussion in cultural and media studies.Artikel ini membicarakan pemikiran kognitif di sebalik kecintaan menonton sinetrondalam kalangan wanita Melayu-Jawa di Malaysia. Wanita Melayu-Jawa dalam konteksini merujuk pada warga perempuan dari komunitas Jawa dalam masyarakat Melayu.Menurut Konstitusi Malaysia, warga negara Malaysia keturunan Jawa dianggapsebagai komponen etnik dari kelompok bangsa Melayu karena memiliki kesamaan adatbudaya dan keyakinan sebagai Muslim. Pada hakikatnya, mereka masih mengekalkanbeberapa komponen warisan budaya Jawa seperti penggunaan Bahasa Jawa dalamkeseharian mereka. Dalam konteks wanita Melayu-Jawa yang dibahas dalam artikel ini,diketahui bahwa sinetron telah menjadi salah satu sumber budaya termediakan olehtelevisi yang mengeratkan pertalian dengan asal usul mereka. Sinetron merupakanproduksi televisi yang tergolong genre opera sabun berasal dari Indonesia—negarayang menjadi tanah kelahiran pendahulu wanita tersebut. Hasil dari kerja lapanganetnografi, di Kampung Papitusulem, Selongor, menunjukan bagaimana wanita-wanitaini menyukai sinetron pada tahap tertentu karena tiga alasan utama. Pertama, dialogyang digunakan dalam sinetron sesuai dengan preferensi mereka. Kedua, mereka dapatmenemukan identifikasi identitas budaya mereka dalam representasi sinetron. Ketiga,mereka menonton program televisi yang diimport dari Indonesia sebagi ekspresi rasamemiliki terhadap Indonesia. Ini menunjukkan bahwa menonton sinetron bagi wanitaMelayu-Jawa mempunyai makna seperti melihat identitas diri dari kejauhan, dan inimerupakan diskusi sentral dalam kajian media dan budaya.
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Potter, Anna, and Tom O’Regan. "Pukeko Pictures and the Kiwi DIY Spirit: Building Global Partnerships from the End of the World." Television & New Media 20, no. 5 (January 31, 2018): 492–508. http://dx.doi.org/10.1177/1527476418755305.
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Wellington, New Zealand is a major international screen production base for movies including Peter Jackson’s Lord of the Rings and The Hobbit trilogies. New Zealand production companies like Jackson’s Weta Group producing content for international markets benefit from local policy settings that support such productions. In 2008, a group of long-time Jackson collaborators including Richard Taylor established Pukeko Pictures. In a small country with a deregulated media system, no dedicated public service broadcaster, and minimal supports for children’s television, Pukeko is a successful, globally oriented producer of children’s content. This article examines the strategies that underpin Pukeko Pictures’ production portfolio, which includes the 2015 reboot Thunderbirds Are Go, and a preschool coproduction with China. The combination of dispersed production practices, local subsidies, and quality infrastructure contribute to Pukeko Pictures’ success. We suggest, however, that strategic international relationships managed by Taylor are also critical to Pukeko Pictures developing a significant foothold in transnational television services.