Relevant bibliographies by topics / 190204 Film and Television

Academic literature on the topic '190204 Film and Television'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "190204 Film and Television"

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Shirobokov, A. N. "DOCUMENTARY TELEVISION FILM." RUDN Journal of Studies in Literature and Journalism 22, no. 2 (2017): 361–67. http://dx.doi.org/10.22363/2312-9220-2017-22-2-361-367.

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Yaron Peleg. "Israeli Film and Television." Jewish Film & New Media 3, no. 1 (2015): 1. http://dx.doi.org/10.13110/jewifilmnewmedi.3.1.0001.

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Thompson, Philippa. "Using film and television." Practical Pre-School 2004, no. 46 (July 2004): 19–20. http://dx.doi.org/10.12968/prps.2004.1.46.39999.

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Featherstone, Lisa, and Nonie Sharp. "Film and Television Reviews." History Australia 10, no. 1 (January 2013): 212–16. http://dx.doi.org/10.1080/14490854.2013.11668454.

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Uricchio, William. "Film, cinema, television … media?" New Review of Film and Television Studies 12, no. 3 (June 24, 2014): 266–79. http://dx.doi.org/10.1080/17400309.2014.926656.

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Given, Jock. "Researching Film & Television." Media Information Australia 73, no. 1 (August 1994): 11–15. http://dx.doi.org/10.1177/1329878x9407300105.

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Partello, Peggie. "Film and Television Literature Index." Charleston Advisor 12, no. 1 (July 1, 2010): 17–19. http://dx.doi.org/10.5260/chara.12.1.17.

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Tracy, Tony. "Irish Film and Television -2006-." Estudios Irlandeses, no. 2 (March 15, 2007): 251–86. http://dx.doi.org/10.24162/ei2007-2740.

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Tracy, Tony. "Irish Film and Television -2007-." Estudios Irlandeses, no. 3 (March 15, 2008): 213–62. http://dx.doi.org/10.24162/ei2008-3105.

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Tracy, Tony. "Irish Film and Television – 2009." Estudios Irlandeses, no. 5 (March 15, 2010): 203–55. http://dx.doi.org/10.24162/ei2010-2486.

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Dissertations / Theses on the topic "190204 Film and Television"

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Ferrero-Regis, Tiziana. "Public history, private memories: Historical imagination in the new Italian cinema 1988-1999." Thesis, Griffith Univeristy, 2003. https://eprints.qut.edu.au/92669/1/My%20PhD.pdf.

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The concern with the following arguments started during a study of national and international cinemas, from the desire to account for a cinema that internationally was doing well, but was undervalued domestically. The aims were to account for the renewal of Italian filmmaking from 1988, the New Italian cinema, and understand the conditions behind this renewal. The thesis identifies in the historical theme and in the recurrence of features from Italian cinema history elements of coherence with previous cinema production. The first consideration that emerges is that a triangulation between a new generation of filmmakers, their audience and recent history shaped the recovery of Italian cinema from 1988. A second consideration is that no discussion of Italian cinema can be separated from a discussion of that which it represents: Italian society and politics. This representation has not only addressed questions of identity for a cohort of spectators, but on occasions has captured the attention of the international audience. Thus the thesis follows a methodologic approach that positions texts in relation to certain traditions in Italian filmmaking and to the context by taking into consideration also industrial factors and social and historical changes. By drawing upon a range of disciplines, from political history to socio-psychological studies, the thesis has focussed on representation of history and memory in two periods of Italian film history: the first and the last decade of twentieth century. The concern has been not so much to interpret the films, but to understand the processes that made the films and how spectarors have applied their knowledge structures to make meaning of the films. Thus the thesis abstains from ascribing implicit meanings to films, but acknowledges how films project cultural contingencies. This is beacause film is shaped by production conditions and cultural and historical circumstances that make the film intelligible. As Bordwell stated in Making Meaning, "One can do other things with films besides 'reading' them" (1989, p. xiii). Within this framework, the thesis proposes a project that understands history films with the norms that govern Italian filmic output, those norms that regulate conditions of production and consumption and the relation between films from various traditions.
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Felix, José Carlos. "Film and television adaptation." Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87828.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente
Made available in DSpace on 2012-10-22T02:29:14Z (GMT). No. of bitstreams: 0
A presente pesquisa tem como objetivo principal investigar o processo de adaptação de filmes baseados em textos literários em relação ao contexto histórico e social em que eles foram produzidos. Desta forma, a pesquisa apresenta uma análise comparativa de duas versões cinematográficas da peça do dramaturgo Tennessee Williams A Streetcar Named Desire produzidas em momentos históricos distintos, a primeira para o cinema, dirigida por Elia Kazan (1951) e a outra feita para a televisão, dirigida por Glenn Jordan (1995). Uma discussão sistemática sobre o processo de
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Armstrong, Keith M. "Towards an Ecosophical Praxis of New Media Space design." Thesis, QUT, 2003. https://eprints.qut.edu.au/9073/1/PHDTHESISKMAsmall.pdf.

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This study is an investigation in and through media arts practice. It set out to develop a novel type of new media artistic praxis built upon concepts drawn from the disciplines of scientific and cultural ecology. The rationale for this research was based upon my observation as a practising new media artist that existing praxis in the new media domain appeared to operate largely without awareness of the ecological implications of those practices. The thesis begins by explaining key concepts of ecology, spanning the arts and the sciences. It then outlines the thinking of contemporary theorists who propose that the problem of ecology is a critical issue for the 21st century, suggesting that our well-documented ecological crisis is indicative of a more general crisis of human subjectivity. It then records an investigation into particular strategies for artistic praxis which might instigate an active engagement with this problem of ecology. The study employed a methodology based in action research to focus upon the development and analysis of three new artistic works, '#14', 'Public Relations' and 'transit_lounge'. These were used to explore diverse theories of ecology and to hone a series of pointers towards Ecosophical arts/new media praxis. This journey constitutes an emergent theory for new media space design. The thesis concludes with a toolkit of tactics and approaches that other arts/new media practitioners might employ to begin working on the problem of ecology.
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Frame, Gregory. "The American president in film and television." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57046/.

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This thesis examines the representation of the American president in fictional films and television programmes, as well as documentary film and photography. It engages broadly with the subject’s entire history, but focuses particularly on the past two decades (1992-2012). Its primary method is close textual analysis, departing from pre-existing studies that are largely preoccupied with questions of verisimilitude and historical accuracy. The construction of the cinematic and televisual presidencies requires a simultaneous negotiation of the ‘real’ political/historical record, and the desire to reproduce and reinforce the representational genealogies inherited from cinema and television’s own histories (not necessarily all explicitly ‘political’). My research has found the presidency to be overwhelmingly reliant upon mythological discourses about American national identity, and traditional conceptions of masculinity. How these constructions impact upon the representation of the president in relation to the contexts from which the films and programmes emerge is of crucial importance. The conception of the presidency has undergone enormous change since the early 1990s. The end of the Cold War, the increased scrutiny of the mass media, 9/11 and the ‘war on terror’, and the economic crisis, have either challenged or reinforced the notion that the president is an omnipotent force, able to bend the world to his will. The strategies cinema and television have employed to address these changes is of crucial significance to this thesis. This thesis will establish the manner in which techniques of mainstream film and television production – genre, visual style, iconography, and narrative – have impacted upon the reinforcement or critique of the presidential myth. As the presidency has suffered relative decline in a more diffuse geopolitical environment, this thesis demonstrates the extent to which the myth of the presidency has required the intervention of mainstream cinema and television to ensure its preservation.
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Johns, Jennifer L. "Tracing the connections : Manchester's film and television industry." Thesis, University of Manchester, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676506.

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Mullin, Romano Francis. "Reimagining the Renaissance : afterlives in literature, film and television." Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728197.

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Walsh, Angela. "Obscene intimacies : postmodern portraiture in documentary film and television." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54728.

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The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. Following an overview of the scholarship relevant to my research in Chapter One, Chapter Two will discuss two films by the documentary filmmaker Nick Broomfield, Heidi Fleiss: Hollywood Madam (1995) and Aileen: Life and Death of a Serial Killer (2003). Often maligned in both critical and scholarly circles for failing to interrogate ideology in any meaningful way, I argue that his work operates on a reflexive level to suggest that images fail us when attempting to extract the intimate truth of the individual. In Chapter Three I discuss two examples of reality television series that focus on the lives of individuals, Errol Morris’s First Person (IFC, 2000-2001) and Intervention (A&E, 2005 - ), which demonstrate the persistent need to render the subject in visual terms and make the viewer witness to the most intimate and personal aspects of their lives.
Arts, Faculty of
Theatre and Film, Department of
Graduate
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Han, Heeju. "Galdosian novels adapted in film and television 1970-1998 /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3264320.

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Thesis (Ph.D.)--Indiana University, Dept. of Spanish and Portuguese, 2007.
Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1958. Adviser: Maryellen Bieder. "Title from dissertation home page (viewed Jan. 12, 2008)."
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Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema." Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.

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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.
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Buckle, Christopher. "The 'War on Terror' metaframe in film and television." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3014/.

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Following the terrorist attacks of September 11th, 2001, the government of the United States of America declared a ‘War on Terror’. This was targeted not only at the ostensible culprits – al-Qaeda - but at ‘terror’ itself. The ‘War on Terror’ acted as a rhetorical ‘metaframe’, which was sufficiently flexible to incorporate a broad array of nominally-related policies, events, phenomena and declarations, from the Iraq war to issues of immigration. The War on Terror is strategically limitless, and therefore incorporates not only actual wars, but potential wars. For example, the bellicose rhetoric towards those countries labelled the ‘Axis of Evil’ or ‘Outposts of Tyranny’ is as much a manifestation of the metaframe as the ‘Shock and Awe’ bombing of Baghdad. As a rhetorical frame, it is created through all of its utterances; its narrative may have been initially scripted by the Bush administration, but it is reified and naturalised by the news media and other commentators, who adopt the frame’s language even when critical of its content. Moreover, film and television texts participate in this process, with fiction-based War on Terror narratives sharing and supporting – co-constituting – the War on Terror discourse’s ‘reality’. This thesis argues that the War on Terror metaframe manifests itself in multiple interconnected narrative forms, and these forms both transcode and affect its politics. I propose a congruency between the frame’s expansiveness and its associational interconnections, and a corresponding cinematic plot-structure I term the Global Network Narrative. Elsewhere, an emphasis on the pressures of clock-time is evoked by the real-time sequential-series 24, while the authenticity and authority implied by the embedded ‘witness’ is shown to be codified and performed in multiple film and television fiction texts. Throughout, additional contextual influences – social, historical, and technological – are introduced where appropriate, so as not to adopt the metaframe’s claims of limitlessness and uniqueness, while efforts are made to address film and television not as mutually exclusive areas of study, but as suggestively responsive to one another.
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Books on the topic "190204 Film and Television"

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Film and television. New York NY: Ferguson, 2009.

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Jane, Pelusey, ed. Film and television. Philadelphia: Chelsea House, 2005.

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Wordsworth, Louise. Film and television. Austin, Tex: Raintree Steck-Vaughn, 1999.

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Wordsworth, Louise. Film and television. Austin, Tex: Raintree Steck-Vaughn, 1999.

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Story of a friendship: The letters of Dmitry Shostakovich to Isaak Glikman, 1941-1975. London: Faber, 2001.

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Institute, British Film. Film and television handbook. London: British Film Institute., 1989.

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Armer, Alan A. Directing television and film. 2nd ed. Belmont, Calif: Wadsworth Pub. Co., 1990.

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Directing television and film. Belmont, Calif: Wadsworth Pub. Co., 1986.

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Institute, British Film, ed. Film and television yearbook. London: British Film Institute, 1986.

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McMahon, Barrie. Real images: Film & television. South Melbourne: Macmillan, 1986.

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Book chapters on the topic "190204 Film and Television"

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Kääpä, Pietari. "Film and television." In Environmental Management of the Media, 187–206. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge studies in environmental communication and media: Routledge, 2018. http://dx.doi.org/10.4324/9781315625690-9.

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Rockler-Gladen, Naomi. "Film and Television." In Race/Gender/Class/Media, 141–44. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351630276-31.

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Coelho, Inês Rebanda. "Cinema and Television." In Philosophy and Film, 319–41. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-19.

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Sanders, Steven. "Television Noir." In A Companion to Film Noir, 440–57. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118523728.ch26.

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Adler, Thomas P., and Nicolas Tredell. "Film and Television Adaptations." In Tennessee Williams, 115–26. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_10.

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Hill, John. "From Television into Film." In Ken Loach, 104–33. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92473-8_6.

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Bautz, Annika, and Nicolas Tredell. "Film and Television Adaptations." In Jane Austen, 124–33. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-07706-6_8.

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Kirby, David A. "Film, Radio, and Television." In A Companion to the History of Science, 428–41. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118620762.ch30.

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Abbott, Stacey. "Cult film – Cult television." In The Routledge Companion to Cult Cinema, 366–78. London; New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781315668819-45.

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Leggott, James. "Crime Film and Television." In The North East of England on Film and Television, 153–77. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69146-2_7.

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Conference papers on the topic "190204 Film and Television"

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Sun, Jing. "On Film and Television Education for Film and Television Industry." In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesame-18.2018.31.

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Dickson, Stewart, and Bill Villarreal. "The Gemini Process: A Theatrical-Quality Video-to-Film Transfer Process." In SMPTE Television Conference. IEEE, 1989. http://dx.doi.org/10.5594/m00737.

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Lucht, Philip. "Variable-Resolution Rendering System Extends Television Animation Graphics to Film and Print Media." In SMPTE Television Conference. IEEE, 1987. http://dx.doi.org/10.5594/m00876.

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Li, Xinxin. "Study on Film and Television Literature Criticism." In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.94.

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Yang, Lun. "The Art of Film and Television Packing." In 2016 International Conference on Education, Management and Computer Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemc-16.2016.40.

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Ning Guan, Hiroiku Tayama, and Koichi Ito. "A film antenna for digital terrestrial television reception." In 2010 IEEE International Symposium Antennas and Propagation and CNC-USNC/URSI Radio Science Meeting. IEEE, 2010. http://dx.doi.org/10.1109/aps.2010.5561242.

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Jing, Jiayi. "Analysis of Fashion in Film and Television Works." In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.277.

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Hodge, Winston, Bill Harvey, and Robert S. Block. "A Film Quality Digital Archiving & Editing System." In SMPTE Advanced Television and Electronic Imaging Conference. IEEE, 1993. http://dx.doi.org/10.5594/m00673.

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Guan, Ning, Hiroiku Tayama, Ryouhei Hosono, and Hirotaka Furuya. "A folded film antenna for digital terrestrial television reception." In 2011 IEEE-APS Topical Conference on Antennas and Propagation in Wireless Communications. IEEE, 2011. http://dx.doi.org/10.1109/apwc.2011.6046757.

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Huang, Liying, and Yijian Pei. "Film and television animation design based on Maya and AE." In 2010 3rd International Congress on Image and Signal Processing (CISP). IEEE, 2010. http://dx.doi.org/10.1109/cisp.2010.5646354.

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Reports on the topic "190204 Film and Television"

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Paslavskyi, Ihor. Ukrainian television: problem-content analysis. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11397.

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The article highlights and analyzes the factors influencing the activities of television editorial teams in the period of new political, economic and security circumstances. It is noted that all-Ukrainian influential television channels, which have the highest popularity and high ratings, are oligarchic media with a high level of political involvement. Ukrainian television is widely practicing to narrow the thematic range of programs, reports and programs resulting in unjustified dominance in the television space of entertainment and humorous genres, «ravel journalism», excessive overweight of foreign programs and of obsolete quality film production. In the news programs, some TV companies, including 1 + 1, widely emphasize negative issues that are not typical of Ukrainian society, which often has a petty, urban and secondary status. Instead, a wide range of real, socially important, topical issues and problems remain out of the professional attention of journalists, analysts and experts. Guided only by the criterion of rating programs, programs, stories, topics and problems, TVs lose the most active segment among the audience – critical thinking, knowledgeable, erudite recipient, who, choosing an information resource, increasingly prefers the internet journalism.
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Smith, N. A., K. J. Austin, J. Lecocq, D. Lewis, G. Major, T. K. Nielsen, G. Page, and P. Schwarcz. Guide for the Lighting of Sports Events for Colour Television and Film Systems, 3rd Edition. International Commission on Illumination (CIE), April 2019. http://dx.doi.org/10.25039/tr.083.2019.

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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