Academic literature on the topic 'Dragon TV'
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Journal articles on the topic "Dragon TV"
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Wu, Huiyu. "A Preliminary Study on the Innovative Narrative Mode of Traditional Evening Parties: Taking A Wonderful Tour of Dragon Boat Festival by Henan Satellite TV as an example." BCP Social Sciences & Humanities 18 (June 30, 2022): 482–88. http://dx.doi.org/10.54691/bcpssh.v18i.1149.
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Recent years has witnessed China’s vigorous promotion of the excellent traditional Chinese culture. And major TV channels have launched numerous outstanding programs and works, among which the series of “Chinese Festivals” released by Henan Satellite TV has achieved “success across fields”. Not only does it provide a good example for the re-creation and dissemination of traditional culture, but it also presents a new trend of inheriting, innovating and developing excellent traditional Chinese culture.
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Lewis, James R., and Junhui Qin. "Is Li Hongzhi a CIA Agent? Tracing the Funding Trail Through the Friends of Falun Gong." Journal of Religion and Violence 8, no. 3 (2020): 298–307. http://dx.doi.org/10.5840/jrv202121680.
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In 2000, Mark Palmer, one of the National Endowment for Democracy’s (NED’s) founders and Vice Chairman of Freedom House—an organization funded entirely by the U.S. Congress—founded a new government-supported group, Friends of Falun Gong (FoFG). By perusing FoFG’s annual tax filings, one discovers that FoFG has contributed funds to Sounds of Hope Radio, New Tang Dynasty TV, and the Epoch Times—all Falun Gong media outlets. FoFG has also contributed to Dragon Springs (a Falun Gong ‘compound’ that hosts a Falun Gong school and a residency complex) and to Shen Yun (a Falun Gong performance company), as well as to Falun Gong’s PR arm. In order to contextualize the U.S. government’s funding of Falun Gong, it will also be helpful to examine a handful of additional U.S. agency activities, such as the NED’s funding of Liu Xiaobo, the Hong Kong protests, and other China-related and Tibet-related groups.
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Kondryko, A., and A. Drachova. "НОВІТНІ ТЕХНОЛОГІЇ МЕДІАІНДУСТРІЇ: МОЖЛИВОСТІ ТА ОСОБЛИВОСТІ ВИКОРИСТАННЯ В УКРАЇНІ." State and Regions. Series: Social Communications, no. 1(41) (March 10, 2020): 122. http://dx.doi.org/10.32840/cpu2219-8741/2020.1(41).19.
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<div><p><em>In the article covered the features of implementing and using additional Internet functionality in the information space: in particular, audience analysis services, content research, fact-checking in real-time, automatic news generation, bots and mobile apps that are rapidly gaining popularity in modern journalism.</em></p></div><p> </p><p><em>Defined, some mobile apps: The Dragon Diction (speechy), Cogi, Imovie, Snapseed, Camscanner, Canva, Sweet Text: Story Maker & GIF can help detect dictation and save it in text format; make notes, add some images, select certain parts; compose multiple videos, add audio effects and titles; edit images, backgrounds, colours, shades; scan documents and savе them in the required format; create any infographic, text and publication in different formats; make animated text stories accordingly.</em><em></em></p><p><em>The essence and purpose of IT capabilities such as virtual reality (enhancing user interest, stimulating brain activity while browsing content, etc.) and augmented reality (enhancing the effect of information through additional materials, graphics and visualisation) are detailed. It is emphasised that the introduction of the cyber tools in the media is due to the need to meet market trends, competition at local and global levels, the need to clarify data, the demanding potential audience.</em><em></em></p><p><em>Monitoring of using the latest IT in the Ukrainian media industry has revealed the presence its in the TV programs: «Siogodni», «Siogodni. Pidsymku z Olegom Panyutoyu» (TV channel «Ukrayina»), «TSN» («1+1»), programs of TV-channel «NASH», multimedia project «Ukrainer», magazine «Marie Claire», which confirmed the popularity of new formats for creating and implementing information product in Ukraine.</em><em></em></p><p><strong><em>Key words:</em></strong><em> visualisation, virtual reality, augmented reality, Internet functionality, cyber tools, media product, fact-checking.</em><em></em></p>
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Baumann, Sabine, and Ulrike Rohn. "Meet the Predators." TV Formats and Format Research 5, no. 9 (August 1, 2016): 105. http://dx.doi.org/10.18146/2213-0969.2016.jethc106.
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The TV industry has traditionally relied on advertising and subscription fees for revenue. Recently, brand extensions and co-branding strategies have been rediscovered as income sources. A prominent example of such a strategy is the TV format Dragons’ Den, which has been locally produced in many different countries. We use this intriguing case to explore the extensive and intricate co-branding relationships and brand extensions in the business-to-consumer and the business-to-business settings of TV companies. Our paper analyses global adaptations and cultural branding of Dragons’Den; in particular, brand extensions and co-branding strategies.
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Crocker, Glenn, and Martijn Mugge. "Braving the dragons: How to nurture biochemist entrepreneurs." Biochemist 30, no. 2 (April 1, 2008): 28–30. http://dx.doi.org/10.1042/bio03002028.
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Series five of BBC TV's Dragons' Den has just finished, and anyone with a modicum of entrepreneurial spirit will have chanced a glance at the small screen to admire or admonish those who seek investment from the Dragons. TV entertainment it may be, but most weeks there are lessons to be learned from the experienced investors as they interrogate the hopeful and often hapless contestants. Never before has the making or breaking of business deals been made so accessible to the prime time viewer and raised so many questions about the nature of what constitutes a great investment.
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Daković, Nevena, and Aleksandra Milovanović. "Soft power of the Balkans: Soft power of the TV series: Black Sun/Shadows over the Balkans." Kultura, no. 173 (2021): 83–95. http://dx.doi.org/10.5937/kultura2173083d.
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The paper explores the soft power of the Serbian TV series produced in the period 2015-2021 - as focused on the in depth analysis of the TV series Senke nad Balkanom (Black Sun/Shadows over the Balkans, 2017, Dragan Bjelogrlić) - and their role in the domains of cultural diplomacy and international relations of Republic of Serbia. The research uses the methods of the qualitative (textual, narrative, genre) and quantitative (the financial success in terms of distribution, placement at the festivals, promotions on the social webs) analysis. The aim of this paper is to map out - reading the thematically and generically diverse case studies of multilayered narrative complexity - the emerging patterns of the soft power analysis of TV series and their importance and value for the national cultural policy and diplomacy. Consequently, the multifaceted narrative of the Shadows over the Balkans becomes the story of the past and the present; cultural and political tensions; opposed parties and conflicting identities in the country and in the region. At the same time the TV series creates the image of Serbia - process of 'branding the nation and the state' - aimed for and turned toward the world, but not necessarily made in accordance with the state priorities and strategies. Regional and global reactions and critical response to the Shadows over the Balkans, its international placement, distribution and promotion argue the skilful change of the global into the local phenomenon (global exploitation and the growing soft power) as well as the successfully achieved mission of the cultural diplomacy - have appropriated identity and enhanced visibility of the country and of the nation.
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Daković, Nevena. "Belgrade between the Wars: Imperial Shadows on the Screen." European Review 28, no. 1 (November 6, 2019): 90–101. http://dx.doi.org/10.1017/s1062798719000292.
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The aim of this article is to analyse the TV series Black Sun/Shadows over the Balkans (Senke nad Balkanom, 2017, Dragan Bjelogrlić), understood as a reflection of the ways in which diverse imperial legacies, persisting differences and contrasting pasts shaped the (ambivalent) post-imperial traumatic history of the newly formed Kingdom of Serbs, Croats and Slovenes in 1918. The burden of imperial legacy – mostly manifested in ethnic, political, cultural and economic tensions among diverse nations in the new multi-ethnic state – kept brewing under the surface and came to represent a constant threat of balkanization i.e. further fragmentation of the multicultural kingdom. In this article I claim that the same danger of balkanization – traced back to the years after the Great War – continued to haunt all successor states of the Kingdom of Yugoslavia (and Yugoslavias ensuing from 1943 until 1992) eventually resulting in the break-up of the Socialist Federal Republic of Yugoslavia (SFRY) in 1992. The irreconcilable differences and competing ambitions of different national, social and geopolitical identities define the structure, characters and their relations in the TV narrative, and are also reflected in the cityscape of Belgrade – the capital of the Kingdom and paradigmatic Balkan metropolis – in the late 1920s. The series is read against the theories of Dominique Moisi’s Geopolitics of Emotions (2010) and La géopolitique des séries/Geopolitics of TV Series (2016), and his assertion that TV series have become crucial in understanding our world in its many aspects – from domestic politics to geopolitics. The story of Belgrade between the two World Wars reveals the traumatic imperial legacy as determining the emergence of a ‘culture of fear, hope and humiliation’, tensions of balkanization and search for identity in the city suspended between an Ottoman casaba and a European metropolis. On the other side – in terms of narrative, genre, and visual style – the series itself is seen as the acculturated version of both the novel Der nasse Fisch (Volker Kutscher, 2007) and the TV series Babylon Berlin (2017), illustrating the rise of cultural imperialism in post-imperial times.
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Balakhonskaya, Liudmila V. "Pitch as a business PR-text: Communicative and pragmatic aspect." Media Linguistics 8, no. 3 (2021): 273–86. http://dx.doi.org/10.21638/spbu22.2021.306.
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The article discusses pitching as a communication technology and a pitch as a business PRtext. For a more complete and correct definition of the concepts of a pitch and pitching, the semantics of the multi-valued pitch lexeme underlying them are analyzed. The types of pitching are described by the field of activity, by the intended purpose and by the time of the presentation. The subject of the study was the textual features of the investment pitch as a PR communication tool. The main purpose of the work is to analyze the structural and content components of the investment pitch in the communicative and pragmatic aspect, including the characteristics of the addresser, addressee, object, goal, functions, etc. The material for the study was selected using the method of random sampling of 28 video recordings of pitch presentations presented on the foreign TV shows Shark Tank and Dragons’ Den, posted on the social network YouTube. The analysis of the material showed that the text of the pitch is based on the principle of combining standard and expression, noted by V. G. Kostomarov, in relation to the language of the newspaper. The tendency towards standardization is manifested in the typical structure of the pitch, the tendency towards expressiveness — in the use of certain verbal and paraverbal means, with the help of which the addresser seeks to express a subjective attitude not only to the content of speech, but also to the addressee, influencing his consciousness and stimulating him to make the necessary decisions. Based on the identified differential features, the definition of an investment pitch is proposed. It is concluded that the investment pitch can be included in a number of other proposals coming from the PR subject — proposals for cooperation, commercial proposals and proposals for sponsorship, calling it an offer for investors.
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Kopus, Tatiana L., and Irina I. Klimova. "REIMAGINE PITCH AS A SPEECH GENRE IN BUSINESS COMMUNICATION." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 31–40. http://dx.doi.org/10.17072/2073-6681-2020-3-31-40.
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The article studies system-forming characteristics of pitch as a business speech genre in business communication. The research material is presented by 54 entrepreneurial pitches (a brief speech of an entrepreneur to investors) in the TV reality shows Dragons’ Den (UK) and Sharks Tank (USA). The article describes pitches studied by modern linguists within the anthropocentric paradigm. The paper considers the concepts ‘speech genre’, ‘communication strategy’ through the prism of scientific views of M. M. Bakhtin, O. S. Issers as well as the theory of business discourse in the works by F. Bargiela-Chiappini. The article analyzes the most typical structural, lexical, semantic and stylistic characteristics of the pitch manifested in dynamics. The authors demonstrate that the interaction of business, public and mass media discourses generates a genre that is not reduced to the simple sum of their components. The research shows that taken in the context of mass media communication, pitch as a genre should be considered in all the diversity of this speech situation, allowing us to rethink the genre-forming factors of pitch. The set of specific characteristics that make it special in its capacity of a speech genre includes inequality of the communication role and status, two pools of listeners, preset logical structure of the text, elements of show, turns in the process of speech, number of speakers, and a function of a trigger for further negotiation. A new understanding of the role and meaning of pitch allows us to categorize this genre not as an element of the sales genre but as the first component of the commercial negotiation genre. The results obtained can be applied in the practice of teaching modern English language, in research on communicative linguistics and pragmatics.
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Liao, Sara, and Qi Ling. "The “Little Third”: Changing Images of Women Characters Involved in Extramarital Affairs on Chinese TV." Communication, Culture and Critique, March 17, 2022. http://dx.doi.org/10.1093/ccc/tcac002.
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Abstract For this study, we analyzed the changing images of women characters involved in extramarital affairs in three Chinese TV dramas—Come and Go (CG; Hubei TV & Guangxi TV, 1998), Dwelling Narrowness (DN; Beijing TV & Dragon TV, 2009), and Nothing but Thirty (NT; Dongfang TV & Tencent Video, 2020). We argue here that shifting gender relationships, evolving political, economic, and technological conditions relating to the media industry, and a transition in the broader social environment have motivated a return to patriarchal moral discourse on Chinese TV. Specifically, in keeping with this discourse, extramarital affairs have come to be presented as immoral, primarily for the women involved—the “little third” of the title, this being the literal translation of the Mandarin term for “mistress.” We documented this return to patriarchal moral doctrines that are intended to discipline women and limit the diversity and nuance of culturally accepted forms and expressions of sexual attraction and romance on Chinese TV in case studies of the three programs.
Dissertations / Theses on the topic "Dragon TV"
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Willander, Martin. "Reflektion genom interaktion : En analys av förbindelsen mellan spelarens moraliska handlingar och karaktärernas utveckling i tv/datorspelet Dragon Age: Origins." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-6589.
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The aim of this essay is to investigate the function and development of non-player characters (NPC) in the TV/computer game Dragon Age: Origins. The NPCs are analysed in order to see if their development is affected by the player character’s (PC) background and interactions. The game’s ethics is also investigated by studying how the NPCs treat the PC and what significance they give to his background and actions. The results show that the NPCs are affected by the PC’s interactions, and furthermore, that they are round characters, which is unusual in TV/computer games. The NPC Alistair and the PC are vital for the game’s story, while the NPCs Leliana and Morrigan have a moral and psychological function. The NPCs are moral indicators and by either opposing or accepting the PC’s actions they show their own personality. The game’s norm is created by the player/PC. Also, the game sheds light on the player’s moral actions and gives the player a chance to reflect over his/her choices and the consequences thereof. The results give way to a discussion on how games like Dragon Age: Origins can be used in learning. Through interactions and by letting the player project his/her own identity onto the PC, TV/computer games can show the consequences of actions. Since the player is not only told the story, but ‘lives’ it, the moral choices faced in the game make the player practice being responsible and facing moral dilemmas as if in real life, hence enriched by new experiences.
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Kadenbach, Stefanie [Verfasser]. "Vernetzte Erzählungen : Wechselwirkungen von Digitaltechnologie und serieller Narration in US-amerikanischen TV-Dramen / Stefanie Kadenbach." Berlin : Neopubli GmbH, 2016. http://www.epubli.de/.
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Bareišis, Audrius. "Dramaturgijos raiška TV laidoje „Nacionalinė paieškų tarnyba"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20110709_152437-73944.
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Televizija perėmė dviejų menų – iš pradžių teatro, vėliau ir kino puoselėtas dramaturgijos raiškos priemones bei sukūrė savitą dramos pasaulį, kurio žiūrovas – prieš televizoriaus ekraną sėdintys žmonės. Televizijos dramaturgija žengia vos pirmuosius žingsnius, lyginant ją su dešimtmečių ar net šimtmečių patirtį turinčiais kinu bei teatru, todėl iki šiol nėra atliktos platesnės TV dramaturgijos studijos. Šio baigiamojo magistro darbo tyrimo objektas yra Lietuvos radijo ir televizijos projekto „Nacionalinė paieškų tarnyba“ analizė bei dramaturgijos raiškos televizijoje tyrimas. Tyrimui bei analizei laida „Nacionalinė paieškų tarnyba“ pasirinkta dėl savo unikalaus – Lietuvos televizijose – pobūdžio. Analogų lietuviškose televizijos programose neturinti laida, padedanti po pasaulį išblaškytiems giminaičiams ir artimiesiems surasti vienam kitą. Atlikto darbo tikslas buvo ištirti, kaip dramaturgija yra perteikta konkrečioje televizijos laidoje, kokius teatre bei kine pritaikytus dramos elementus perėmė TV projektai ir kokį poveikį žiūrovų auditorijai daro dramaturgijos elementų panaudojimas televizijoje. Baigiamojo magistro darbo uždaviniai buvo susiję su dramaturgijos elementų pritaikymo televizijoje analize, dramaturgijos raiškos lietuviškoje TV tendencijų aprašymų bei perspektyvų įvertinimu. Buvo siekiama nustatyti dramos kūrinių reikšmę televizijos programose bei apibendrinti TV auditorijos poreikius bei lūkesčius susijusius su dramaturgija. Šio darbo metodai – laidos... [toliau žr. visą tekstą]The television applied dramaturgy expression methods that were nurtured by theater at the beginning and later by cinema and created original drama world whose spectators are people sitting in front of the television. The television dramaturgy takes barely its first steps, compared with theater and cinema which have the experience of decades or even centuries; therefore there are no wider TV drama study. An object of the master thesis is an analysis of Lithuanian radio and television project National search service and research of dramaturgy expression. The show National search service was chosen because of its uniqueness in Lithuanian television channels. The show which helps to find one‘s own flesh and blood dissipated in the world is the broadcast that has no analogues in the programmes of Lithuanian television channels. The goal was to examine how dramaturgy was conveyd in a particular television broadcast, what theatrical and cinematic dramaturgy elements were adopted in TV projects and what impact the dramaturgy elements make on an audience in the television. The objectives of the master thesis were coherent with the analysis of dramaturgy elements applied in television, the description of trends of dramaturgy expression in Lithuanian TV and the evaluation of prospects. The main focus was to determine the significance of drama pieces in television programmes and to summarize TV audience needs and expectations related to dramaturgy. The methods of the study involve... [to full text]
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Lagerblad, Felicia. ""Vinnaren är Draken" : En kritisk diskursanalys med inslag från semiotik av Bolibompas innehåll." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-185119.
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It is often discussed that television is bad for children. Research has shown that it is not the actual media but rather the content that is affecting children. It is therefore problematic what children are exposed to when watching television. The purpose of this study is to gain understanding of the content in Bolibompa. It will also be discussed through a perspective with public service and the state in mind to study the themes and eruditions Bolibompa illustrates. By using a multimodal critical discourse analysis, I will answer the questions at issue “What themes are exposed in Bolibompa?” and “What eruditions are shown and how is the discursive upbringing of children followed?”. By using Saussure's semiotic theories together with theories about denotation and connotation the analysis of the visual elements is strengthened. Together with Fairclough’s theory of power and children’s sociology the TV show shall be analyzed to display the themes and eruditions. Previous studies connected to children and TV-watching and also the power relation between producer and children will be taken into account. The analysis is performed by using different analysis tools such as lexical choices, denotation, connotation and Argyle’s (1972) decoding scheme. Every episode was analyzed separately but the results are presented thematically. The result shows three major themes: discourses, authority and knowledge. Within these there are further themes to explain the content such as discourse of power. The results also show different eruditions such as learning to listen, problem solving and including everybody. The conclusions of the study show that it is important that everyone feels included. This was shown by changing rules or that everybody won a price. Another conclusion was that not all segments were as pedagogical as they could have been. Several segments were not explained, and it is therefore of importance to have a parent present for the children’s sensemaking. The study also exposed the importance of good content in a TV-show for children.
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Villanueva, Jordán Iván. "“You better werk.” Camp representations of Rupaul’s Drag Race in Spanish subtitles." Consortium Érudit, 2015. http://hdl.handle.net/10757/615516.
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El texto completo de este trabajo no está disponible en el Repositorio Académico UPC por restricciones de la casa editorial donde ha sido publicado.Condragulations, fierce, realness, werk or «Shante, you stay» are only some of the expressions from the contestants’ lexicon of RuPaul’s Drag Race (RPDR), a popular reality television show that started airing in 2009 in the USA. Through an academic lens, the study of this type of expression was anecdotally called “lavender linguistics,” during the first explorations of the sexual minorities’ ways of talking. Since then and till now, concepts related to gender, sexuality, and the works of representation have influenced both linguistics and Translation Studies, which in turn has led to critical perspectives on translation, identity transfer, acculturation and, of course, the way language works. This paper begins by briefly referring to drag queens living in Lima, Peru, and how they have changed the way they talk to each other and about themselves. As will be argued, a cultural product such as RPDR and the necessary interlingual subtitling into Spanish –commercial or fan-made– have been influencing their linguistic engagement. Further on, the concepts of camp and camp talk will be presented as they were first introduced to Translation Studies with the work of Keith Harvey during the late 1990’s. Camp representations will be then analyzed in commercial and fan-made subtitles to reveal the semiotic and pragmatic constraints resulting from cultural-specific gay identities. From this first approach, new inquiries on audiovisual translations in general and identity acculturation in particular will be proposed.
Revisión por pares
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Wang, You-Jia, and 王優嘉. "Research of the Operating Strategy of Dragon TV." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/31146894050217038043.
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碩士國立臺灣大學
臺大-復旦EMBA境外專班
102
Dragon TV not only faces the same dilemma of other provincial satellite TV, but also faces greater challenges and difficulties because of it’s internationalization location and developing goals. So in this media environment, the study of Dragon TV’s operation strategy has becoming a pressing task. This paper focus on the operational strategy of Dragon TV in order to summarize the management experience. Firstly, the thesis reviewed the development process of satellite TV in China, recognized the reason, context, function and the future trend of satellite TV, at the same time, researched the development process of Dragon TV. Then did a PEST analysis provincial satellite TV from four angles of politics, economy, society, technology. Further analized of competitive condition of the satellite television industry in China, combined with the successful cases to fine out the existing problems, then analyzed the competitive behavior of our provincial satellite TV taking advertising price war and content scramble for example. The provincial satellite TV has been developed strong brand effect in the country like Hunan TV, Jiangsu TV, Zhejiang TV and Anhui TV, with their unique business model, they can provide reference for the development of dragon tv. On the basis of the above analysis , the paper has conducted the research of the business strategy of Dragon TV, studied the content innovation strategy, marketing and advertising strategies from a different point of view. Finally, on the basis of the whole study put forward its own proposals, one is the future operation strategies, one is the suggestions for future academic research.
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Chou, chun-lan, and 周君蘭. "The relationship between TV viewing and viewers'''' identification with values on TV: A case study of '''' Dragon on the Fly''''." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/03822644194679610482.
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碩士南華大學
傳播管理學系碩士班
90
〈Abstract〉 This research mainly focuses on the relationship among the television viewing, the degree of involvement, and viewers’ identification with values on TV. The personal value was also taken into account as a mediating variable. Two methods, the theme analysis of value and telephone survey, were used in the study. The former was to analyze the values delivered by the soap opera, Dragon on The Fly, while the later was to investigate the relationship between television viewing and the viewers’ identification with values delivered by the drama. Ten themes were presented in Dragon on The Fly. They were love, gender roles, loyalty and filial piety, hatred, humanity and justice, consolidation and cooperation, compliance with authority, the order and principles of society, forgiveness, and conservative defensiveness. Among value-themes emphasized, the traditional values were weighted more than the modern ones. Audiences who ever watch Dragon on The Fly tend to agree more on the values shown than those who never watch it. Positive correlations were found between the level of identification with the media value and the amount of exposure, the degree of involvement, and the personal value. People who have strong internal values tend to be heavy viewers, while people who have strong interpersonal values tend to be highly involved in viewing. In sum, viewers who think much of the personal values tend to agree more on the values in the soap opera. Key words：value, television viewing, the degree of involvement, television drama, cultivation theory, social learning theory
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Jiang, Shou-de, and 蔣壽德. "The Reform of Chinese Provincial satellite TV Industry--the case of GZSTV and DRAGONTV." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/93725572683409049608.
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碩士南華大學
傳播學系碩士班
97
Since the P.R.C. was established in 1949, all the media had been as importantpropaganda tools by the CCP, and almost regional TV stations were emerged national strategies to local ones. Until 1982, the Central planned finally to open some local channels,and permitted to handle the education ones. In 1983, SARFT set up the “four levels to manage mix cover, inclusive of broadcast and TV,” policy to make the local officials obtain broad executive space on managing TV industries and start to deliver the TV signal to the satellite. In 1996, some western provincial satellite TVs（Guizhou, and etc.）, coordinated the“Western Great Development” policy, became some of the first batch on satellite around China. Along with the “reform and open policy”, the provincial TV, which funded from the government allocation in the past, started to assume responsibility for own profits and losses,and the government subsidy were getting fewer and fewer. Therefore, more than 30 provincial satellite TVs recent years have a main core duty, “looking for the market localization and the strategy” for oneself. Generally, most channels hit the channel content localization, inclusive of the GZSTV and DRAGONTV’s regional sign. Current provincial satellite TV reforms are different from the pre-system TVs owned by the CCP or PRC, therefore this research compared a provincial satellite TV in the Eastern developed area with another ones in the western area positively to understand similarities and differences of the respective local strategy around the provincial satellite TV. According to “the Institutional change Theory”, we analyze the reform of Chinese provincial satellite TV from the management, editing-and-broadcasting, and ownership system of the GZSTV and DRAGONTV. In the reform of management system, we analysis about cooperation of the undertaking work, TV viewing ratio, and regional strategy. In the reform of editing-and-broadcasting system, we analysis about the separation of making and broadcasting programs, channel specialization, and program diversification. We also discuss about how to expand audiences and program homogenization in the future. In the ownership system, we analysis about internal corporation and seeking the overseas fund. Because we have visited some chief cities and TV stations in China and talked to many news jobholders from 2005 to 2008 by oneself, we understand the most real condition of Chinese TV industry.
Books on the topic "Dragon TV"
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1954-, Lee Ang, Wang Huiling 1964-, Schamus James, Corliss Richard, Bordwell David, Cai Guorong, Wang Dulu, Chan Kam Chuen, and Sunshine Linda, eds. Crouching tiger, hidden dragon: Portrait of the Ang Lee film. New York: Newmarket Press, 2000.
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Andy, Eddy, ed. Turbografx-16 and TurboExpress Secrets. Rocklin, CA: Prima Publishing, 1990.
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Dragonheart. New York, NY: Berkley Pub. Co., 1996.
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Super NES Games Secrets, Volume 3. Rocklin, CA: Prima Publishing, 1992.
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Sandler, Corey. The Official TurboGrafx-16 Game Encyclopdia. New York, NY: Bantam Books, 1990.
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Tom, Badgett, ed. Ultimate Unauthorized Nintendo Classic Game Strategies. New York, N.Y.: Bantam Books, 1991.
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Tom, Badgett, ed. Ultimate Unauthorized Nintendo Classic Game Strategies. 2nd ed. New York: Bantam Books, 1992.
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Arnold, J. Douglas. Awesome Super Nintendo Secrets. Maui, USA: Sandwich Islands Publishing, 1992.
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Awesome Super Nintendo Secrets 2. Lahaina, USA: Sandwich Islands Publishing, 1993.
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Perotti, Giovanni, ed. Sega Mega Drive Game Secrets: Strategie e Segreti, Volume 1. Via Rosellini, Milano, Italy: Jackson Libri, 1993.
Find full textBook chapters on the topic "Dragon TV"
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Marsh, Vivien. "A Trojan dragon and its Achilles heel." In Seeking Truth in International TV News, 185–201. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003095439-8.
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Daggett, Chelsea. "“If You Can’t Love Yourself, How in the Hell You Gonna Love Somebody Else?” Drag TV and Self-Love Discourse." In RuPaul’s Drag Race and the Shifting Visibility of Drag Culture, 271–85. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50618-0_18.
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Tonguette, Peter. "[Untitled]." In Picturing Peter Bogdanovich, 3–70. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813147314.003.0001.
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Part 2 offers a Q&A drawn from sixteen years’ worth of interviews, encompassing each of Bogdanovich’s film and TV projects, his background, his triumphs, and his tragedies. The Q&A is arranged in chronological order, starting with Bogdanovich’s youth in New York and continuing through his plans to make his long-anticipated film Wait for Me.
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Carmona, Alba. "Las reescrituras fílmicas de la comedia nueva." In El teatro clásico español en el cine. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-330-4/001.
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Broadly speaking, the cinematographic adaptations of the comedia nueva have not drawn the Hispanists’ attention. Why? Have there been any changes to that trend lately? This essay aims at tackling these issues. It suggests that the underdevelopment of this field of study is due to a strong philological orientation of most Spanish departments and the scattering of film materials. It also proposes that the increasing academic interest inSiglo de Oro’s presence on screen is linked to the recent release of TV series such asEl Ministerio del Tiempo, which has brought Lope and Cervantes close to a broader public. This essay concludes by suggesting some relevant research threads that are still to be explored, such as studying unfinished cinematographic adaptations and the analysis ofcomedia’s diffusion through TV.
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Burlingame, Jon. "“Head ’em Up! Move ’em Out!”The Westerns." In Music for Prime Time, 84—C3.P135. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190618308.003.0004.
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Abstract The history of music for TV westerns (which begins with old songs for Roy Rogers and Gene Autry shows) centers mostly on the 1950s and 1960s, the heyday of the genre. Gunsmoke’s theme was drawn from the radio show that preceded the TV edition; movie great Bernard Herrmann wrote considerable western music for the CBS library that wound up tracked into dozens of episodes of Have Gun Will Travel, Rawhide, and others. Western themes by top songwriters including Harry Warren (Wyatt Earp) and Livingston and Evans (Bonanza), movie composers like Dimitri Tiomkin (Rawhide) and Jerome Moross (Wagon Train), and top record arrangers like Percy Faith (The Virginian), rule the airwaves. Americana scores by David Rose (High Chaparral), Elmer Bernstein (Riverboat), and George Duning (Big Valley) and, later, a spaghetti-western style theme by Italian composer Ennio Morricone (The Men from Shiloh), are notable additions.
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Kampourakis, Kostas, and Kevin McCain. "Uncertainties in Forensic Science." In Uncertainty, 134–46. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190871666.003.0010.
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There is a general impression, enhanced by many TV shows, that forensic analyses are objective and infallible. Yet this is far from true. There are many reasons for this. Forensic analyses are not only limited by the quality and the quantity of the DNA analyzed, but also by mistakes that can be made during the interpretation of the findings. There are many uncertainties inherent in the respective procedures, and these must be carefully considered before a conclusion is drawn. Whereas forensic DNA analyses can really be informative, they have to be judged against other types of evidence. Most importantly, all these have to be carefully considered before a juridical decision is made all while making efforts to limit biases that might interfere.
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MacKenzie, Scott, and Anna Westerståhl Stenport. "Introduction: What are Arctic Cinemas?" In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0001.
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In their “Introduction,” Scott MacKenzie and Anna Westerståhl Stenport coin a new rubric within World Cinema called “Arctic Cinemas.” They position different forms of Arctic filmmaking, whose interrelations are often overlooked to uncover a counter-history that reveals the complexity of Arctic moving image representation. Films on Ice is the first book to present a transnational and global range of Arctic film and moving image practices, addressing the great cinematic diversity of representation and production practices in the region. Engendering a dialogue between insiders and outsiders, the book’s examples are drawn from three distinct but interrelated groups: 1) films made by Arctic residents, but mostly seen in the South through film festivals, specialty TV channels, and the Internet; 2) films made outside the Arctic, typically by outsiders, and viewed mostly in the South and; 3) films made and viewed by Arctic residents through narrowcast, broadcast, digital streaming, and alternative venues.
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Schober, Adrian. "Satanic Anti-Hero." In The Omen, 79–90. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800857070.003.0005.
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This chapter considers the religious and political implications of the continuing story of Damien’s rise – and fall – over the two sequels that form the ‘Damien’ trilogy: Damien: Omen II (Don Taylor, 1978) and The Final Conflict (Graham Baker, 1981). These sequels offer some revisions to the original, as well as foundational American myths. Damien: Omen II depicts Damien as an adolescent being groomed for the world of big business. The Final Conflict depicts Damien as an adult embarking on a career in American politics. In the last film, insistent parallels are drawn between the Christ and the Antichrist. Damien here takes after the reinterpreted Lucifer of Milton’s epic poem Paradise Lost, while his sadomasochistic creed owes much to poet William Blake’s theory of contraries and inversions. Additionally, the made-for-TV Omen IV: The Awakening (1991) is briefly addressed as a late entry in the series.
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Tan Çakır, Nilay, and Recep Yılmaz. "The Construction of the Social Roles Attached to Women in TV Commercials Through the Narrative." In Advances in Linguistics and Communication Studies, 144–60. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9251-9.ch010.
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This study is aimed to show how the gender characteristics attributed to women reflect in the advertisement narratives and how these construct through narratives. The first part of the study is presented the concept set related to the subject. In the second part, an analysis by adhering to the conceptual framework is drawn by the literature review. In this section, television commercials, which are first in Turkey, are analyzed despite the upward trend in digital media and advertising investments. In the 2019 Crystal Apple advertising competition, 16 commercial films that received the Crystal Award in the TV and Cinema category were determined as a sample. In the study, the paradigms that form the basis of the qualitative research approach are accepted. In addition to the narrative analysis method, it also supported content analysis. The research results reveal the essential components of the advertising narrative, the roles attributed to women in television advertisements, and how they are constructed through narrative.
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Mullan, Killian. "Time for Health." In A Child's Day, 59–86. Policy Press, 2020. http://dx.doi.org/10.1332/policypress/9781529201697.003.0003.
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This chapter examines associations between children's time use and a range of different health outcomes. Concerns about the prevalence of obesity and being overweight among children, and associated health problems, have drawn attention to questions around whether children are spending too much time in sedentary screen-based activities on the one hand and not enough time in active physical activities on the other. Technological change has greatly enhanced the capacity for children to spend time in a wide variety of screen-based activities, and persistent concerns about children's safety outdoors have led to increasing restrictions on the time children spend outside. These factors have likely coalesced over recent decades, resulting in children leading lives that are less active and spent indoors focused on screens. The widespread view is that this is indeed the case. Considering the evidence for this, the chapter analyses long-term trends in screen time (comprised of time watching TV, using computers, and playing video games) alongside trends in physical activities such as sport and exercise, play outside the home, and active travel (walking and cycling).
Conference papers on the topic "Dragon TV"
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Lima, Karim Ferreira, Rodrigo Marques de Figueiredo, Eduardo Augusto Martins, and Jean Schmith. "Virtual lines for offside situations analysis in football." In Anais Estendidos da Conference on Graphics, Patterns and Images. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sibgrapi.est.2021.20037.
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Offside is one of the situations that is analyzed by the Video Assistant Referee (VAR). However, it has caused some controversy due to the delay in the analysis and definition of the irregularity. This work proposes a method that helps in the analysis of offside situations and also makes it available for nonprofessional matches. Here, image processing algorithms were used to determine offside situations in football matches from TV videos, of course, in accordance with the game regulation. The method includes the image vanishing point identification, camera calibration and the virtual offside line drawing. The method presented good results from 10 videos selected for analysis, with five from the right side of the field and five on from the left side. Among the videos, one was chosen as the basis for explaining the development of the method and demonstrate a situation with a virtual line drawn automatically, therefore determining an offside situation. As a result, the virtual line is identified by the color red when the manually selected player is in offside and green when he is not.
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JÕGI, Erkki, Alo ALLIK, Hardi HÕIMOJA, Tõnis PEETS, Heino PIHLAP, Mart HOVI, Eve ARUVEE, et al. "INCREASING ELECTRICITY SELF-CONSUMPTION IN RESIDENTIAL BUILDINGS BY ELECTRICITY-TO-HEAT CONVERSION AND STORAGE." In RURAL DEVELOPMENT. Aleksandras Stulginskis University, 2018. http://dx.doi.org/10.15544/rd.2017.205.
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The current paper addresses energy storage issues in residential buildings with the objective of increasing direct consumption. The building, connected to an utility grid, is supplied by a micro wind turbine and PV panels. The utility grid itself acts as an energy buffer. Only nonshiftable loads (white goods, TV etc.) and electric water heating are taken into account. The studied configuration comprises two cascaded heating boilers, one of them preheating boiler. The annual electricity production of the micro wind turbine and PV panels is chosen to cover the hot water demand and nonshiftable loads inside the building with 70/30 ratio in favour of the wind energy. During the experiments, the generation graphs’ shaving levels vary between 0 and 100 %, with peak energy diverted into a preheating boiler and the remaining part fed into the main boiler. The proposed solution allows increasing locally consumed energy share, as the energy of stochastic peaks is stored and used on later demand. The locally consumed energy is expressed by the cover factor, its increase possibilities are studied in main text. Calculations are based on 5- minute time series. The applied algorithm follows the amount of heat in the main and preheating boiler, including also incoming and outgoing energies. The cover factor cannot be increased without restrictions. Too high shaving levels bring along problem of removing excess heat from the preheating boiler. The allowed drain loss is taken as 10 % of annual boiler energy balance. The presumed growth of the cover factor at preheating boiler volume of 160 l instead of 80 l is at least 8 %. with the main boiler sized as before.
Reports on the topic "Dragon TV"
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Hotsur, Oksana. SOCIAL NETWORKS AND BLOGS AS TOOLS PR-CAMPAIGN IMPLEMENTATIONS. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11110.
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The article deals with the ways in which social networks and the blogosphere influence the formation and implementation of a PR campaign. Examples from the political sphere (election campaigns, initiatives), business (TV brands, traditional and online media) have revealed the opportunities that Facebook, Telegram, Twitter, YouTube and blogs promote in promoting advertising, ideas, campaigns, thoughts, or products. Author blogs created on special websites or online media may not be as much of a tool in PR as an additional tool on social media. It is noted that choosing a blog as the main tool of PR campaign has both positive and negative points. Social networks intervene in the sphere of human life, become a means of communication, promotion, branding. The effectiveness of social networks has been evidenced by such historically significant events as Brexit, the Arab Spring, and the Revolution of Dignity. Special attention was paid to the 2019 presidential election. Based on the analysis of individual PR campaigns, the reasons for successful and unsuccessful campaigns from the point of view of network communication, which provide unlimited multimedia and interactive tools for PR, are highlighted. In fact, these concepts significantly affect the effectiveness of the implementation of PR-campaign, its final effectiveness, which is determined by the achievement of goals. Attention is drawn to the culture of communication during the PR campaign, as well as the concepts of “trolls”, “trolling”, “bots”, “botoin industry”. The social communication component of these concepts is unconditional. Choosing a blog as the main tool of a marketing campaign has both positive and negative aspects. Only a person with great creative potential can run and create a blog. In addition, it takes a long time. In fact, these two points are losing compared to other internet marketing tools. Further research is interesting in two respects. First, a comparison of the dynamics of the effectiveness of PR-campaign tools in Ukraine in 2020 and in the past, in particular, at the dawn of state independence. Secondly, to investigate how/or the concept of PR-campaigns in social networks and blogs is constantly changing.