Academic literature on the topic 'Digital audio-visual production'
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Journal articles on the topic "Digital audio-visual production"
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Scott, Tom. "Digital Telecommunications for Digital Audio/Visual Production." SMPTE Journal 102, no. 7 (July 1993): 623–25. http://dx.doi.org/10.5594/j03771.
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Ningrum, Karina Pramita. "DIGITAL SIGNAGE : MAKNA, STRATEGI PEMBUATAN PESAN, DAN IMPLEMENTASI OLEH DENTSU AGENCY." Media Bahasa, Sastra, dan Budaya Wahana 28, no. 1 (May 1, 2022): 624–32. http://dx.doi.org/10.33751/wahana.v28i1.5223.
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AbstractThis article discusses the digital signage: meaning, message creating strategy and implementation by Dentsu Agency. The success of an advertising message in capturing the audience's attention and create awareness of one set of capabilities includes an advertising content in the audio and visual elements of the use of the media, this study aims to determine the stage of making understand the message of the use of digital signage medium that has limitations on audio elements that able to highlight the visual elements that still give th eaudience an understanding in accordance with the audio function. This study used a qualitative research method with descriptive explorative design, to explain the results of the interview and observation data analysis techniques used thematic analysis. The results showed limitations in representing by the agency of visual elements on the digital signage medium in capturing the attention of the audience, persuasive, and increase awareness of the audience for a productor service through the medium. Production strategies under taken message includes three stages which includes the step of: 1) Pre-production, 2) production, and 3) Post- Production. Implementation of the medium is seen in the field of advertising (commercial) and some other fields related to the use of digital signage. Keywords:Digital Signage,Implementation of Digital Signage,Message Creating Strategy. AbstrakPenelitian ini membahas tentang digital signage: makna, strategi pembuatan pesan dan implementasi oleh Dentsu Agency. Keberhasilan sebuah pesan iklan dalam menangkap atensi dan menciptakan awareness audiens salah satunya ditentukan dari kemampuan sebuah konten iklan dalam menonjolkan unsur audio dan visual dari penggunaan media, penelitian ini bertujuan untuk mengetahui memahami tahapan pembuatan pesan dari penggunaan medium digital signage yang memiliki keterbatasan pada unsur audio agar mampu menonjolkan unsur visual yang tetap memberikan pemahaman pada audiens sesuai dengan fungsi audio. Penelitian ini menggunakan metode penelitian kualitatif dengan desain deskriptif ekploratif, untuk menjelaskan hasil wawancara dan observasi digunakan teknik analisis data dengan analisa tematik. Hasil penelitian menunjukkan keterbatasan agency dalam menunjukan unsur visual pada medium digital signage dalam menangkap atensi dari audiens, persuasif, dan meningkatkan awareness audiens terhadap sebuah produk atau jasa melalui medium tersebut. Strategi produksi pesan yang dilakukan meliputi tiga tahapan yang meliputi tahap : 1) Pra produksi, 2) Produksi, dan 3) Pasca Produksi. Implementasi penggunaan medium ini dilihat dalam bidang periklanan (komersial) dan beberapa bidang lainnya yang berkaitan dengan penggunaan digital signage. Kata kunci : Digital Signage,Implementasi,Strategi Pembuatan Pesan.
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Hagedoorn, Berber. "‘It’s like the space shuttle blows up every day’: Digital television heritage as memory of European crises in the age of information overload." Journal of European Studies 49, no. 3-4 (October 11, 2019): 427–47. http://dx.doi.org/10.1177/0047244119859169.
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Television is a public mediator of what constitutes ‘crises’ in Europe. Audio-visual archives and researchers are facing new complexities and ‘information bubbles’ when telling stories and reusing televised materials. I reflect on these practices, among others, via a comparative case analysis of the EUscreen portal offering access to thousands of items of European audio-visual heritage. I question how practices of selection and curation can support comparative interpretations of such representations. This approach aims to understand and support (1) interpretations of digitized/digital audio-visual sources in the era of information overload; (2) user interaction with digital search technologies – especially researchers as platform users; and (3) contextualization for reuse of audio-visual texts. Support for cultural memory research is crucial as television’s audio-visual heritage can help us to recognize which cultural practices result in the production of specific texts in European societies, representing conditions of the multiple crises that European citizens are experiencing today.
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Reyna, Jorge, Jose Hanham, and Peter Charles Meier. "A framework for digital media literacies for teaching and learning in higher education." E-Learning and Digital Media 15, no. 4 (June 18, 2018): 176–90. http://dx.doi.org/10.1177/2042753018784952.
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Across a broad range of subjects in higher education institutions, students are required to complete assessment tasks that involve the production of digital artefacts. Examples include podcasts, digital stories, animations, video and blended media. To produce effective digital artefacts, one must be digitally literate. This requires a certain set of technical, audio-visual, behavioural, critical and social skills. In this article, the authors propose a framework that can be used to develop digital media literacies and train students in digital media creation. The framework considers three interdependent domains: conceptual, functional and audio-visual. A series of examples will be provided to illustrate the importance and interdependent nature of these domains. Implications of the framework on student training are discussed.
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Mutunga, Isaac Mutwiri, and Collins Wagumba. "Developing Broadcasting Industry Through Glocalisation and Hybridisation." Jurnal Komunikasi Islam 9, no. 1 (June 1, 2019): 1–20. http://dx.doi.org/10.15642/jki.2019.9.1.1-20.
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This article is a qualitative descriptive study that examines South Korean and East Africa Audio-visual production and distribution policies and regulations. Through analysing the results of in-depth interviews with audio-visual (broadcast) policymakers, content producers, and audiovisual business owners, this study found that South Korea reviewed regulations and policies that were protectionist in nature to more open and collaborative policies that were in tune with the digital broadcast environment. It recommended that to create successful broadcast industries, developing countries should review their broadcast policies and regulations to be in tandem with digital and media convergence environment as well as give audio-visual industry prominence by establishing ministries that deals with broadcast-related issues to promote locally, to produce content internationally, and also to source for collaboration between local and international producers.
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Putra, I. Nyoman Agus Suarya, and I. Wayan Mudra. "Digital learning media for early children based on local wisdom of the “Jagat Kertih”." International journal of humanities, literature & arts 5, no. 1 (December 8, 2022): 60–68. http://dx.doi.org/10.21744/ijhla.v5n1.2036.
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This study conveys how to learn with digital media so students can easily understand the material presented independently. The research aims to create new learning innovations through digital audio-visual media easily accessible via mobile phones. Teaching media is made as a barcode that can be scanned and then pasted into the teaching material book. Audio-visual material can then be displayed on the topics discussed in the textbook. Students can easily understand the material because digital media can be explained in detail and completely about the material in student textbooks. The approach is carried out through the local wisdom of Sad Kerti Loka Bali in the Jagat Kertih section, which means glorifying the human environment so that students can adapt the teaching materials. The method used in this research is the Qualitative Method. The design process is carried out in three stages: pre-production, production, and post-production. In testing, in the first stage, students were taught conventional face-to-face methods. Then in the second stage, learning was carried out by adding digital material and being observed. Tests were carried out on early childhood students, teachers as material experts, and visual communication designers as media experts.
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Md Alui, Siti Eryza Aziera, Mazlina Pati Khan, Nurul Asyiqin Shafei @ Safri, and Nordiana Mohd Nordin. "Audio Visual Digital Preservation Strategies: A case study in National Broadcasting Agency." Environment-Behaviour Proceedings Journal 7, SI10 (November 30, 2022): 47–51. http://dx.doi.org/10.21834/ebpj.v7isi10.4100.
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This study discusses the digital preservation practice and challenges of the media repository in the broadcasting industry. This study covers the digital preservation practices in Wisma TV, Radio Television Malaysia (RTM) where it functioning as information hubs for media resources and assisting in the preservation of cultural heritage. However, these broadcasting archives have mostly gone unnoticed and neglected by those working in the archive sector. Qualitative research methodology is used by implementing the case study design in order to explored the challenges while performing the digital preservation work. This broadcasting organization media collective was envisioned as a distributed network of organizations that supported media production, exhibition, and study, functioning as resource centers for media and supporting regional preservation efforts. Keywords: Audiovisual Archiving, Digital Preservation, Broadcasting Industry eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by E-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer-review under the responsibility of AMER (Association of Malaysian Environment-Behavior Researchers), ABRA (Association of Behavioral Researchers on Asians), and cE-Bs (Centre for Environment-Behavior Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.
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Hagedoorn, Berber, and Bas Agterberg. "The End of the Television Archive as We Know It? The National Archive as an Agent of Historical Knowledge in the Convergence Era." Media and Communication 4, no. 3 (July 14, 2016): 162–75. http://dx.doi.org/10.17645/mac.v4i3.595.
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Professionals in the television industry are working towards a certain future—rather than end—for the medium based on multi-platform storytelling, as well as multiple screens, distribution channels and streaming platforms. They do so rooted in institutional frameworks where traditional conceptualizations of television still persist. In this context, we reflect on the role of the national television archive as an agent of historical knowledge in the convergence era. Contextualisation and infrastructure function as important preconditions for users of archives to find their way through the enormous amounts of audio-visual material. Specifically, we consider the case of the Netherlands Institute for Sound and Vision, taking a critical stance towards the archive’s practices of contextualisation and preservation of audio-visual footage in the convergence era. To do so, this article considers the impact of online circulation, contextualisation and preservation of audio-visual materials in relation to, first, how media policy complicates the re-use of material, and second, the archive’s use by television professionals and media researchers. This article reflects on the possibilities for and benefits of systematic archiving, developments in web archiving, and accessibility of production and contextual documentation of public broadcasters in the Netherlands. We do so based on an analysis of internal documentation, best practices of archive-based history programmes and their related cross-media practices, as well as media policy documentation. We consider how audio-visual archives should deal with the shift towards multi-platform productions, and argue for both a more systematic archiving of production and contextual documentation in the Netherlands, and for media researchers who draw upon archival resources to show a greater awareness of an archive’s history. In the digital age, even more people are part of the archive’s processes of selection and aggregation, affecting how the past is preserved through audio-visual images.
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Álvarez Rodríguez, Víctor. "The digital transmedia narrative composition of the storytelling of Lost." Doxa Comunicación. Revista interdisciplinar de estudios de comunicación y ciencias sociales, no. 29 (December 2019): 97–111. http://dx.doi.org/10.31921/doxacom.n29a5.
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Analysing the transmedia narrative through the virtual environment means recognizing the communication model used by television fiction today and the behaviour of its audience. Thanks to the development of digital media, numerous audio-visual productions have addressed these platforms to transmit and expand their narrative. The pioneering production in this field is the fantasy genre series Lost (2004-2010). Therefore, this research proposes a methodology of analysis of the narrative discourse of three transmedia works in order to identify and study their repercussions in the final narrative of the work. In particular, the digital transmedia construction of the story is analysed in short films, ARGs and videogames. All of this in search of the recognition of a single common narrative formed thanks to different media and languages. Likewise, the connection and dedication of the community of followers of the series with these proposals will also be explored.
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Tyas, Danang Sandy. "Rosette Guitar Quartet : Proses Kreatif Melalui “Youtube” Sebagai Pasar Industri Musik Digital." JMD : Jurnal Riset Manajemen & Bisnis Dewantara 4, no. 1 (March 24, 2021): 1–8. http://dx.doi.org/10.26533/jmd.v4i1.763.
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The existence of YouTube as a promotional medium is utilized by the Rosette guitar quartet in presenting a musical performance presented with the creation and production in the form of audio-visual uploaded via YouTube social media. With the growing need and dependence of the public on YouTube channels, YouTube's function has begun to grow no longer as a medium of entertainment alone, YouTube has also begun to function as a reference, promotion, and even existence for certain groups such as artists, musicians and indie artists who are not exposed to television media. and those that already exist in the entertainment world. The purpose of this study is to describe the creative process of the Rosette Guitar Quartet in facing the digital music market. This research uses a qualitative approach. Qualitative research focuses on data not numbers, and seeks to answer questions rather than test hypotheses. The result of this research is the creative process of the Rosette Guitar Quartet in utilizing YouTube as a digital music industry market through the presentation of music in audio-visual form.
Dissertations / Theses on the topic "Digital audio-visual production"
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Nicholas, Joshua, and n/a. "Hollywood 2.0: Digital Audio-Visual Production as a Rhizomic Process." Griffith University. School of Arts, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060906.093359.
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This exegesis explores the notions of production process paradigm shift through the analysis of digital technologies and their effect on the production of 'CruelUnusual'. Chapter one of this exegesis has introduced the research question with appropriate methodologies to explore the rhizomic possibilities of the use of new digital technology (DV, WWW & DVD) through the design of new structures and frameworks for audio-visual production. Chapter two will outline the traditional production process from the first steps of the pre-production phase, through to the shooting and editing of the film, to its final delivery on the screen. Chapter three will outline various new technologies to be explored and evaluated to assess their benefits to filmmakers in the creation of new production process paradigms. Chapter four of this exegesis presents an evaluation of the Rhizomic Production Process as a viable alternative to the traditional linear produc-tion process. The research data created during the production of the creative project is offered to sup-port arguments presented regarding the benefits of the Rhizomic Production Process. Chapter five will discuss the conclusions and implications discovered during the evalua-tion of the Rhizomic Production Process through the production of the creative project and suggest further possible directions.
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Nicholas, Joshua. "Hollywood 2.0: Digital Audio-Visual Production as a Rhizomic Process." Thesis, Griffith University, 2005. http://hdl.handle.net/10072/366365.
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This exegesis explores the notions of production process paradigm shift through the analysis of digital technologies and their effect on the production of 'CruelUnusual'. Chapter one of this exegesis has introduced the research question with appropriate methodologies to explore the rhizomic possibilities of the use of new digital technology (DV, WWW & DVD) through the design of new structures and frameworks for audio-visual production. Chapter two will outline the traditional production process from the first steps of the pre-production phase, through to the shooting and editing of the film, to its final delivery on the screen. Chapter three will outline various new technologies to be explored and evaluated to assess their benefits to filmmakers in the creation of new production process paradigms. Chapter four of this exegesis presents an evaluation of the Rhizomic Production Process as a viable alternative to the traditional linear produc-tion process. The research data created during the production of the creative project is offered to sup-port arguments presented regarding the benefits of the Rhizomic Production Process. Chapter five will discuss the conclusions and implications discovered during the evalua-tion of the Rhizomic Production Process through the production of the creative project and suggest further possible directions.Thesis (Masters)
Master of Philosophy (MPhil)
School of Arts
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Pando, Rosimeire Aparecida [UNESP]. "As contribuições do audiovisual para a formação de jovens produtores: a construção de conteúdos por meio de dispositivos móveis." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/89549.
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pando_ra_me_bauru.pdf: 1232045 bytes, checksum: 47bf57c7307388b317f73f748ac6702b (MD5)Apresenta-se a possibilidade de criação de núcleos de produção audiovisual com conteúdos informativos que correlacionem, entre outros, arte, meio ambiente e tecnologia. Nesse contexto, a televisão digital e a internet surgem como suporte na cadeia produtiva de conteúdos realizados a partir de dispositivos móveis. Tal realidade conta com o incentivo, dentre outros, do Centro Nacional de Excelência em Produção de Conteúdos Digitais Interativos e Interoperáveis, coordenado pelo Ministério de Ciência e Tecnologia (MCT). As tecnologias de informação e comunicação (TICs) podem reestabelecer às produções midiáticas a vocação de fonte cultural formadora na vida dos indivíduos, principalmente jovens. Neste sentido, os meios de comunicação interativos prometem reduzir as fronteiras da desigualdade de acesso, fortalecendo a democratização de informações, o compartilhamento de saberes e práticas cidadãs
This paper presents the possibility of creating audiovisual production cores with informative and educative contents which correlate art, environment and technology, among others. In this context, digital television and internet appear as support to the production chain of contents generated from mobile internet devices. Such reality is encouraged, among others, by the Centro Nacional de Excelência em Produção de Conteúdos Digitais interativos e interoperáveis, coordinated by the Ministério de Ciência e Tecnologia (MCT). The information and communication technologies (ICT) can re-establish to the media productions the vocation of cultural source in one's life, especially the young. So, interactive communication means promise to reduce the bordes of access inequality, building up information democratization, knowledge sharing and civic practices
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Pando, Rosimeire Aparecida. "As contribuições do audiovisual para a formação de jovens produtores : a construção de conteúdos por meio de dispositivos móveis /." Bauru : [s.n.], 2012. http://hdl.handle.net/11449/89549.
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Orientador: João Baptista de Mattos Winck FilhoBanca: Sânderson Reginaldo de Mello
Banca: Regina Célia Baptista Belluzzo
O Programa de Pós Graduação em Televisão Digital: informação e conhecimento capacita profissionais para atuarem em televisão digital nas três áreas: comunicação, educação e tecnologia
Resumo: Apresenta-se a possibilidade de criação de núcleos de produção audiovisual com conteúdos informativos que correlacionem, entre outros, arte, meio ambiente e tecnologia. Nesse contexto, a televisão digital e a internet surgem como suporte na cadeia produtiva de conteúdos realizados a partir de dispositivos móveis. Tal realidade conta com o incentivo, dentre outros, do Centro Nacional de Excelência em Produção de Conteúdos Digitais Interativos e Interoperáveis, coordenado pelo Ministério de Ciência e Tecnologia (MCT). As tecnologias de informação e comunicação (TICs) podem reestabelecer às produções midiáticas a vocação de fonte cultural formadora na vida dos indivíduos, principalmente jovens. Neste sentido, os meios de comunicação interativos prometem reduzir as fronteiras da desigualdade de acesso, fortalecendo a democratização de informações, o compartilhamento de saberes e práticas cidadãs
Abstract: This paper presents the possibility of creating audiovisual production cores with informative and educative contents which correlate art, environment and technology, among others. In this context, digital television and internet appear as support to the production chain of contents generated from mobile internet devices. Such reality is encouraged, among others, by the Centro Nacional de Excelência em Produção de Conteúdos Digitais interativos e interoperáveis, coordinated by the Ministério de Ciência e Tecnologia (MCT). The information and communication technologies (ICT) can re-establish to the media productions the vocation of cultural source in one's life, especially the young. So, interactive communication means promise to reduce the bordes of access inequality, building up information democratization, knowledge sharing and civic practices
Mestre
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Palmeri, Jason. "Multimodality and composition studies, 1960 - present." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1183658255.
Full textBooks on the topic "Digital audio-visual production"
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E, Jones Gerald, ed. Audio-visual techniques. Boston, MA: Pearson Custom Publishing, 2006.
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1956-, Grant August E., ed. Broadcast technology update: Production and transmission. Boston, Mass: Focal Press, 1997.
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Spannaus, Timothy W. Creating video for teachers and trainers: Producing professional video with amateur equipment. Hoboken, N.J: Pfeiffer, 2012.
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Lund, Cornelia. Sculpting Image and Sound. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.40.
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Digital technology increasingly has offered new possibilities of combining audio and visual elements, be it in live performances, installations, or videos. The Canadian artist and musician Herman Kolgen plays the different genres like a virtuoso, exploring overarching themes in audiovisual performances as well as audiovisual installations. This chapter offers a case study that takes Kolgen’s work as an example of artistic production that pushes its investigation of audiovisual combinations in different directions by its flexible use of analog and digital media formats. The chapter first discusses the status of Kolgen’s work in terms of categories of audiovisual production such asvisual music, live cinema, andsound art. It then focuses on an analysis of his work under three aspects: exploration of media formats, use of technology, and relation to performance and performativity. At the same time, the chapter situates Kolgen’s work in the wider context of audiovisual art.
Book chapters on the topic "Digital audio-visual production"
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"Audio-visual content in the EU: Production and scheduling (by Andrea Esser)." In European Media in the Digital Age, 204–37. Routledge, 2013. http://dx.doi.org/10.4324/9781315834832-19.
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Gremler, Claudia, and Elisabeth Wielander. "The Benefits of Student-Led Video Production in the Language for Business Classroom." In Cases on Audio-Visual Media in Language Education, 155–93. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2724-4.ch007.
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The use of video in the language learning classroom has long been seen as a way to enrich the student experience and to increase student engagement. This case study presents a good practice example of student-led video production tasks. The project which is analysed here was conducted with undergraduate students of German at Aston University in Birmingham, UK. It examined student responses and student achievement in relation to a number of different video-based learning activities and explored the potential of student-led digital video production in a language for business context. Results of the study highlighted the various benefits of using video production tasks with language learners. In particular, the data demonstrated how video-based tasks embedded in a Content and Language Integrated Learning (CLIL) approach and supported by adequate scaffolding, such as task-based learning structures, provide collaborative learning opportunities and increase students' confidence.
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Spires, Hiller A., Casey Medlock Paul, and Shea N. Kerkhoff. "Digital Literacy for the 21st Century." In Advances in Library and Information Science, 12–21. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7659-4.ch002.
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Digital literacy involves any number of digital reading and writing techniques across multiple media forms. These media include words, texts, visual displays, motion graphics, audio, video, and multimodal forms. There are myriad cognitive processes at play, along a continuum from consumption to production when a reader is immersed with digital content as well as with print text. The purpose of this chapter is to (1) define digital literacy from multiple theoretical viewpoints, (2) illustrate how the definition continues to evolve in light of emerging technologies, and (3) discuss the cognitive, social, and affective dimensions of digital literacy as it is a key requirement in contemporary K-12 education.
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Andrez, Bárbara. "Oralidades e preservação digital de memórias em museus: A produção audiovisual." In Ensaios e práticas em museologia 09, 1–16. Universidade do Porto , Faculdade de Letras / Departamento de Ciências e Técnicas do Património, 2020. http://dx.doi.org/10.21747/9789728932824/en9a1.
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This paper intents to systematize some concepts related to collective memory, as well as to establish a connection between audio-visual production and the digital production of testimonies, as a mechanism of excellence in the dissemination of oralities and the creation and preservation of individual memories. This production follows a part of the master degree’s final project in Museology (MMUS), defended at the Faculty of Arts and Humanities in Oporto University, which culminated in an exhibition solution for the Oliveira Lopes School Museum, where recorded oralities enhanced the proposal and also helped the study and management of the collection. Some challenges for digital preservation are also addressed, highlighting the importance of information management in the context of a holistic and integrated approach in museums on a globalization era.
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Spires, Hiller A., Casey Medlock Paul, and Shea N. Kerkhoff. "Digital Literacy for the 21st Century." In Encyclopedia of Information Science and Technology, Fourth Edition, 2235–42. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2255-3.ch194.
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Before the Internet was an integral part of life, Paul Gilster (1997) defined digital literacy as the “ability to understand and use information in multiple formats from a wide range of sources when it is presented via computers” (p. 1). Thus, digital literacy involves any number of digital reading and writing techniques across multiple media forms. These media include words, texts, visual displays, motion graphics, audio, video, and multimodal forms. There are myriad cognitive processes at play, along a continuum from consumption to production when a reader is immersed with digital content as well as with print text. The purpose of this chapter is to (a) define digital literacy from multiple theoretical viewpoints, (b) illustrate how the definition continues to evolve in light of emerging technologies, and (c) discuss the cognitive, social, and affective dimensions of digital literacy as it is a key requirement in contemporary K-12 education.
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Andrez, Bárbara. "Museu Escolar Oliveira Lopes : curadoria digital e preservação." In Museus e Formação: Novas Competências para a Transformação Digital, 84–99. FLUP-DCTP, 2021. http://dx.doi.org/10.21747/978-989-9082-07-6/musa6.
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This contribution results from the attendance of the Pilot Specialization Course in blended-learning format, Competences for 21st Century Museum Professionals, within the scope of Mu.SA Project - Museum Sector Alliance, summarizing the activity developed at the Oliveira Lopes School Museum during the Work-based Learning internship over 15 weeks. Based on an initial premise of collecting and preserving oral testimonies from former students, the development of ten audio visual objects was promoted as well as their documental production and the insertion of relevant metadata, following a specific task management. The focus on digital curation/preservation strategies validated the interoperability and the requirements for long term and continuous access, use and reuse of these conceived objects, with the creation of new objects and their availability through the Web 2.0.
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Leong, Kit Wai, and Roslina Abdul Latif. "Digital Experience Moving Toward Greater Learning Experience." In Preparing the Next Generation of Teachers for 21st Century Education, 126–43. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-4080-9.ch008.
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In this new millennium it is a challenge for educators to promote digital experiences that lead to effectiveness and holistic contribution in the learning process. This new development is also in line with the Taylor's University strategy plan 2012-2016, which promises a conducive and responsive learning environment that embraces technology. Hence, the main focus of this chapter is to evaluate the student perspective toward digital experience applied with the adoption of TIMES together with a vast range of tools and how the digital experience was preparing our students for success in the world beyond for the audio-visual production module. Focus groups were conducted to examine the feedback on digital experience for the duration of teaching the module. The results from the study imply that the digital experience has a positive and mediating effect on the learning experience for the students. The knowledge-rich ecology of ongoing participation, self-expression, and recognition in their learning skills also contributes to the ever on-going process of learning.
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Öztürk, Sare R. "Media Convergence, AVT and Translation Criticism in the Digital Era." In Contemporary Translation Studies, 1–22. CSMFL Publications, 2021. http://dx.doi.org/10.46679/978819484830101.
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With the increased integration in the 21st century of the internet and digital technologies into our daily interactions and ways of engagement with life, new audience profiles emerged for mass media consumerism. Viewers are becoming more involved in the process of media dissemination with a hands-on attitude that creates a plethora of possibilities for the “afterlife”- as Walter Benjamin might have called it- of media products. Research on contemporary reception trends refers in this vein to such concepts as media convergence, participatory culture and civic engagement. Participation on the part of the audience, which can be traced back to fandom activities that had been emerging in the media consumption trends of the late 1980s and early 1990s, has increased to become a feature of today’s digital culture (Jenkins, 2006; Orrego-Carmona, 2018). The ability to determine, to some degree, the afterlife of a media product has endowed the audience with a certain power (albeit a relative one) that signalled “uneasy convergences of the market and non-market modes of cultural production” (Burgess & Green, 2009, p. 75). The appropriation of mass media products using amateur skills and the incorporation therefore of “folk culture practices” (Jenkins, 2006, p. 246) into the experience of media consumerism indicated a bottom-up, grassroots involvement with what previously had been accessible only to the central authorities and the corporate production machinery. Beyond fandom activity, such participation has the potential to empower media users in the realm of civic engagement and political activism through “exercis[ing] the civic imagination” (Jenkins & Shresthova, 2016, p. 258) towards, hopefully, more democratic futures. In this chapter, I will discuss audio-visual translation (AVT) within the framework of digital culture and civic engagement and how it can be used as bottom-up new media resistance to top-down mass media production strategies. Regarding such engagement as a form of translation criticism, I will offer a case study through which I observe how Arab consumers of translated (dubbed) Turkish TV drama, particularly the Kurtlar Vadisi [valley of wolves] series, react to strategies of dubbing and censorship that are politically motivated and express their criticism via new media outlets using creative methods that involve translation. I will explain my theoretical framework and methodology in the second part, before moving in the third part to the discussion of my case study. I will conclude with some remarks on audience participation and the role of digital culture in facilitating new expressions of translation criticism.
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Torrisi-Steele, Geraldine. "Theoretical Foundations for Educational Multimedia." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 1391–98. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch188.
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The notion of using technology for educational purposes is not new. In fact, it can be traced back to the early 1900s during which time school museums were used to distribute portable exhibits. This was the beginning of the visual education movement that persisted through the 1930s as advances in technology such as radio and sound motion pictures continued. The training needs of World War II stimulated serious growth in the audiovisual instruction movement. Instructional television arrived in the 1950s, but had little impact, mainly due to the expense of installing and maintaining systems. The advent of computers in the 1950s laid the foundation for CAI (computer assisted instruction) through the 1960s and 1970s. However, it was not until the 1980s that computers began to make a major impact in education (Reiser, 2001). Early applications of computer resources included the use of primitive simulation. These early simulations had little graphic capabilities and did little to enhance the learning experience (Munro, 2000). Since the 1990s, there have been rapid advances in computer technologies in the area of multimedia production tools, delivery, and storage devices. Throughout the 1990s, numerous CD-ROM educational multimedia software was produced and was used in educational settings. More recently, the advent of the World Wide Web (WWW), together with the emergence of mobile devices and wireless networking, has opened a vast array of possibilities for the use of multimedia technologies and associated information and communications technologies (ICT) to enrich the learning environment. Today, educational institutions are investing considerable effort and money into the use of multimedia. The use of multimedia technologies in educational institutions is seen as necessary for keeping education relevant to the twenty-first century (Selwyn & Gordard, 2003). The term “multimedia” as used in this article refers any technologies which make possible “the entirely digital delivery of content presented by using an integrated combination of audio, video, images (twodimensional, three-dimensional) and text” along with the capacity to support user interaction (Torrisi-Steele, 2004, p. 24). Multimedia may be delivered on computer via CD-ROM, DVD, the Internet, or on other devices such as mobile phones and personal digital assistants, or any digital device capable of supporting interactive and integrated delivery of digital audio, video, image, and text data. The notion of interaction in educational multimedia may be viewed from two perspectives. First, interaction may be conceptualised in terms of “the capacity of the system to allow individual to control the pace of presentation and to make choices about which pathways are followed to move through the content; and the ability of the system to accept input from the user and provide appropriate feedback to that input” (Torrisi- Steele, 2004, p. 24). Second, given the integration of multimedia with communication technologies, interaction may be conceptualized as communication among individuals (teacher-learner and learner(s)-learner(s)) in the learning space that is made possible by technology (e-mail, chat, video-conferencing, threaded discussion groups, and so on).
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Gordillo, Inmaculada. "The Mirror Effect and the Transparent City in Audio-Visual Non-Dramatic Fiction." In Advances in Business Strategy and Competitive Advantage, 30–42. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3119-8.ch003.
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In the past, there was always a clear delineation between fiction and the news or fiction and documentary film. Today, however, elements of crossover and hybridization it can be observed in most formats: reality and fiction, public and private, are intermingled. Life itself seeps into fictional accounts, approaching the eternal comedy. Digital formats permit the multiplication of stories and the democratisation of productions. They create a true amalgam of new and old hybrid products, such that comedy also infuses the non-fiction content. Social change is convincingly reflected in the stories that each collective elaborates and consumes. Today, without question, audiovisual stories offer a clear, in-depth analysis of all the social transformations in which we currently find ourselves immersed, therefore this chapter offers an exploration of the novel formats that are extended into the stories that are told on television and on the internet.
Conference papers on the topic "Digital audio-visual production"
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Scott, Tom. "Digital Telecommunications for Digital Audio/Visual Production." In SMPTE Advanced Television and Electronic Imaging Conference. IEEE, 1992. http://dx.doi.org/10.5594/m00718.
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Williams, D. L., and M. Thomas. "The perceived role of automatic content recognition systems in the production of personalised audio-visual media." In 2nd European Workshop on the Integration of Knowledge, Semantics and Digital Media Technology (EWIMT 2005). IET, 2005. http://dx.doi.org/10.1049/ic.2005.0756.
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