Auswahl der wissenschaftlichen Literatur zum Thema „Drama producers and directors“
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Zeitschriftenartikel zum Thema "Drama producers and directors"
Gül, Ayşen. „How Turkey’s creative professionals see their TV drama industry“. Medijske studije 12, Nr. 23 (23.07.2021): 19–39. http://dx.doi.org/10.20901/ms.12.23.2.
Der volle Inhalt der QuelleNobes, Karen, und Susan Kerrigan. „White noise“. Alphaville: Journal of Film and Screen Media, Nr. 24 (20.12.2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.
Der volle Inhalt der QuelleWong, Yat-wai Joseph. „Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85“. Journal of Popular Television 9, Nr. 1 (01.03.2021): 79–91. http://dx.doi.org/10.1386/jptv_00042_1.
Der volle Inhalt der QuelleSmart, Billy. „The Life of Galileo and Brechtian Television Drama“. Journal of British Cinema and Television 10, Nr. 1 (Januar 2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.
Der volle Inhalt der QuelleWallace, Robert. „New Play Development: An Introduction“. Canadian Theatre Review 49 (Dezember 1986): 4–5. http://dx.doi.org/10.3138/ctr.49.fm.
Der volle Inhalt der QuelleShevtsova, Maria. „Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015“. New Theatre Quarterly 31, Nr. 3 (09.07.2015): 232–40. http://dx.doi.org/10.1017/s0266464x15000445.
Der volle Inhalt der QuelleKhan, Zainullah, und Majid Ali Shah. „The Representation of Pathans in Pakistani Prime-Time Urdu Drama“. Summer 2023 4, Nr. 3 (30.09.2023): 312–26. http://dx.doi.org/10.55737/qjssh.873461740.
Der volle Inhalt der QuelleLynn, Heery. „Readings in Review“. Canadian Theatre Review 48 (September 1986): 137–41. http://dx.doi.org/10.3138/ctr.48.019.
Der volle Inhalt der QuellePearce, Brian. „Beerbohm Tree's Production of ‘The Tempest’, 1904“. New Theatre Quarterly 11, Nr. 44 (November 1995): 299–308. http://dx.doi.org/10.1017/s0266464x00009283.
Der volle Inhalt der QuelleKhorana, Sukhmani. „Diverse Australians on television: from nostalgic whiteness to aspirational multiculturalism“. Media International Australia 174, Nr. 1 (22.11.2019): 29–38. http://dx.doi.org/10.1177/1329878x19863849.
Der volle Inhalt der QuelleDissertationen zum Thema "Drama producers and directors"
Foo, Tee-Tuan. „Managing the Content of Malaysian Television Drama: Producers, Gatekeepers and the Barisan Nasional Government“. Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1102522280.
Der volle Inhalt der QuelleBain, Keith Norman. „Hyperartifical cinema and the art of cool“. Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
Der volle Inhalt der QuelleENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
Weber-Fève, Stacey A. „There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /“. Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.
Der volle Inhalt der QuelleBecker, Teresa A. „The self-perceived leadership characteristics of female Producers /“. Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
Der volle Inhalt der QuellePasson, Shannon Reeves Jennifer. „Moving up or moving out new job demands, ability to cope and burnout among television news producers and executive producers /“. Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6536.
Der volle Inhalt der QuelleLaw, Yuk-wa, und 羅玉華. „The poetics of absence: a study of Antonioni and Wenders“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42577093.
Der volle Inhalt der QuelleLaw, Yuk-wa. „The poetics of absence a study of Antonioni and Wenders /“. Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42577093.
Der volle Inhalt der QuelleOtt, Meredith C. „Child actor ethics : children in plays with adult themes /“. Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9882.
Der volle Inhalt der QuelleLass, Barbara Frances. „Hans Richter : film artist /“. Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778974.
Der volle Inhalt der QuelleLin, Yiping, und 林一苹. „Lou Ye: the birth of a personal eye (I)“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517798.
Der volle Inhalt der QuelleBücher zum Thema "Drama producers and directors"
TV creators: Conversations with America's top producers of television drama. Syracuse, N.Y: Syracuse University Press, 2000.
Den vollen Inhalt der Quelle findenDirecting drama. London: Peter Owen, 1994.
Den vollen Inhalt der Quelle findenMeĭerkholʹd: Drama krasnogo Karabasa. Moskva: Izdatelʹstvo AO "Molodai︠a︡ gvardii︠a︡", 2018.
Den vollen Inhalt der Quelle findenLevine, Joseph E., Zero Mostel, Mel Brooks und Sidney Glazier. The producers. Santa Monica, CA: MGM Home Entertainment, 2000.
Den vollen Inhalt der Quelle findenTaylor, Don. Days of vision: Working with David Mercer; television drama then and now. London: Methuen, 1990.
Den vollen Inhalt der Quelle findenThomas, Meehan, und Kolnik Paul, Hrsg. The producers. New York, N.Y: Talk Miramax Books, 2001.
Den vollen Inhalt der Quelle findenJosé Carlos Burle: Drama na chanchada. São Paulo: Imprensa Oficial, 2007.
Den vollen Inhalt der Quelle findenKatharina, Schmitt, und Krausser Helmut 1964-, Hrsg. Theater als Utopie: Regisseure von morgen : [zum Festival "Radikal jung" im April 2010]. Leipzig: Henschel, 2010.
Den vollen Inhalt der Quelle findenJack, Ralite, Renucci Robin 1956- und Ralite Jack, Hrsg. Bâtisseurs & artisans: Jean Vilar et Antoine Vitez, Jack Ralite et Robin Renucci. Toulouse: Éditions de l'Attribut, 2013.
Den vollen Inhalt der Quelle findenRoad to Nirvana: A play in two acts. New York: Hill and Wang, 1991.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Drama producers and directors"
Ahmed, Ishtiaq. „Other Prominent Directors and Producers“. In Pre-Partition Punjab’s Contribution to Indian Cinema, 115–18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003406266-21.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „Nonprofit Directors in the 1990s“. In Directors and the New Musical Drama, 89–107. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_7.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „New Horizons: Nonprofit Musical Drama“. In Directors and the New Musical Drama, 73–87. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_6.
Der volle Inhalt der QuelleFrasca, Simona. „The Record Labels, the Producers, and the Orchestra Directors“. In Italian Birds of Passage, 161–72. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137322425_7.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „Beyond the Logos: West End Musical Drama“. In Directors and the New Musical Drama, 59–71. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_5.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „Introduction: Anglo-American Perspectives“. In Directors and the New Musical Drama, 1–14. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_1.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „The Legacy of the 1980s and 90s“. In Directors and the New Musical Drama, 141–49. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_10.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „Interviews“. In Directors and the New Musical Drama, 151–210. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_11.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „Harold Prince in Context“. In Directors and the New Musical Drama, 15–28. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_2.
Der volle Inhalt der QuelleLundskaer-Nielsen, Miranda. „From Cabaret to Sweeney Todd: Musical Drama on Broadway“. In Directors and the New Musical Drama, 29–44. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_3.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Drama producers and directors"
Fernando, B. S. C. „Creating realistic and safe "Dummy Props" for medical drama and action scenes“. In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.5.
Der volle Inhalt der QuelleConey, Shun, und Yasunobu Ito. „The production process of films from a relational perspective: A case study of independent films about Parkinson's disease in Japan“. In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002555.
Der volle Inhalt der QuelleKoroliova, Elfrida. „The book on theater – an element of cultural heritage“. In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.
Der volle Inhalt der QuelleMolnar, Angelika. „CONTEMPORARY HUNGARIAN PRODUCTIONS OF MAXIM GORKY'S PLAYS “AT THE BOTTOM”“. In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3692.rus_lit_20-21/49-52.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Drama producers and directors"
Scott, Bari. Science Literacy Project for Mid-Career Public Radio Producers, Reporters, Editors and News Directors. Office of Scientific and Technical Information (OSTI), Dezember 2012. http://dx.doi.org/10.2172/1062596.
Der volle Inhalt der QuelleRomán, Marcela, Jorge Jimenez und Jorge Cornick. Public-Private Collaboration on Productive Development Policies in Costa Rica. Inter-American Development Bank, Februar 2014. http://dx.doi.org/10.18235/0011623.
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