Relevant bibliographies by topics / Drama producers and directors

Academic literature on the topic 'Drama producers and directors'

Author: Grafiati
Published: 25 July 2024

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Journal articles on the topic "Drama producers and directors"

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Gül, Ayşen. "How Turkey’s creative professionals see their TV drama industry." Medijske studije 12, no. 23 (July 23, 2021): 19–39. http://dx.doi.org/10.20901/ms.12.23.2.

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Turkey’s TV drama industry has made a quantum leap in the past decade and exported many of its dramas (dizis) to more than a hundred countries. Turkey has become the world’s second-biggest TV drama exporter after the USA in 2016. The dizi industry’s transnationalization is attributable to the tireless efforts and unique features of its associated creative industry. However, the industry has some deep problems. This paper seeks to shed light on the challenges that the Turkish TV drama industry faces. The author has conducted in-depth interviews with Producers, Directors, Scenarists, Actors and Distributors. Their replies reveal the basic characteristics and difficulties of the dizi industry and provide clues as to what needs to be done to sustain and build upon the Turkish TV drama industry’s export success.
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Nobes, Karen, and Susan Kerrigan. "White noise." Alphaville: Journal of Film and Screen Media, no. 24 (December 20, 2022): 79–96. http://dx.doi.org/10.33178/alpha.24.05.

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First Nations content on commercial Australian television drama is rare and First Nations content makers rarely produce the content we see. Despite a lack of presence on commercial drama platforms there has been, and continues to be, a rich array of First Nations content on Australian public broadcast networks. Content analysis by Screen Australia, the Federal Government agency charged with supporting Australian screen development, production and promotion, aggregates information across the commercial and non-commercial (public broadcasting) platforms which dilutes the non-commercial output. The research presented in this article focused on the systemic processes of commercial Australian television drama production to provide a detailed analysis of the disparity of First Nations content between commercial and non-commercial television. The study engaged with First Nations and non-Indigenous Australian writers, directors, producers, casting agents, casting directors, heads of production, executive producers, broadcast journalists, former channel managers and independent production company executive directors—all exemplars in their fields—to interrogate production processes, script to screen, contributing to inclusion or exclusion of First Nations content in commercial television drama. Our engagement with industry revealed barriers to the inclusion of First Nations stories, and First Nations storytelling, occurring across multiple stages of commercial Australian television drama production.
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Wong, Yat-wai Joseph. "Television as the arena of shaping a music genre: The Hong Kong TV broadcasting culture and the rise of Cantopop, 1970–85." Journal of Popular Television 9, no. 1 (March 1, 2021): 79–91. http://dx.doi.org/10.1386/jptv_00042_1.

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The term Cantopop is used by scholars to describe Cantonese popular songs developed in Hong Kong during the early 1970s. The rise and development of the genre was not cultivated by music programmes or variety shows but by Cantonese TV drama culture and the competition between different channels in the 1970s. Footage of early 1970s shows indicates that cover versions of English popular songs were initially more prominent than Cantopop in these programmes. Producers and music directors introduced the genre to television by tailor-making Cantonese theme songs based on the characters and stories of TV dramas. By doing so, Cantopop emerged as an effective tool for promoting TV dramas. In this way, and benefitting from the success of Cantonese TV dramas, Cantopop gradually became accepted as one of the mainstream genres in TV culture.
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Smart, Billy. "The Life of Galileo and Brechtian Television Drama." Journal of British Cinema and Television 10, no. 1 (January 2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.

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Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.
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Wallace, Robert. "New Play Development: An Introduction." Canadian Theatre Review 49 (December 1986): 4–5. http://dx.doi.org/10.3138/ctr.49.fm.

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At its annual general meeting last August, the Playwrights Union of Canada devoted a day-and-a-half to the subject of new play development in a series of panels and small group discussions collectively titled “The Workshop Workshop.” From across the country, playwrights, directors, dramaturgs, and producers debated the methods and processes by which our theatre production system promotes and inhibits the development of indigenous drama. I say drama, for the emphasis in the PUC deliberations was very much on the play text – a piece of writing intended for production that is sometimes conceived and created by a group but which, more usually, is the work of an individual writer. Throughout the various meetings, the playwright’s preeminence in the process of making theatre rarely was questioned; and the centrality of the word, hence the script, was taken for granted.
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Shevtsova, Maria. "Alive, Kicking – and Kicking Back: Russia’s Golden Mask Festival 2015." New Theatre Quarterly 31, no. 3 (July 9, 2015): 232–40. http://dx.doi.org/10.1017/s0266464x15000445.

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The Golden Mask and National Theatre Award and Festival, founded in Moscow in 1994, has showcased some of the most exciting theatre to be found across Russia’s vast territories: ‘theatre’ including opera, ballet, contemporary dance, puppetry, and newer forms that have taken root with changing artistic practices. Maria Shevtsova’s brief overview of the 2015 Russian Case, a selection for foreign producers and critics, prominently features ‘new drama’, not least because of the difficulties recently imposed on Teatr.doc, a founding player within this powerful movement. Major young directors appear here, with crossover to their work as represented in past editions of the Russian Case, and with reference to current socio-political factors. Reviews of earlier festivals appeared in NTQ 85, 95, and 103. Maria Shevtsova, Professor at Goldsmiths, University of London, is co-editor of New Theatre Quarterly. Her most recent book is the co-authored Cambridge Introduction to Theatre Directing (2013). Her seminal Dodin and the Maly Drama Theatre: Process to Performance (2004) has been translated into Romanian, Korean, and Mandarin and, in 2014, Russian.
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Khan, Zainullah, and Majid Ali Shah. "The Representation of Pathans in Pakistani Prime-Time Urdu Drama." Summer 2023 4, no. 3 (September 30, 2023): 312–26. http://dx.doi.org/10.55737/qjssh.873461740.

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The research explores the representation of Pashtuns in popular Urdu dramas during prime time in Pakistan. Data was collected from six highly-watched Pakistani dramas, namely Suno Chanda, Suno Chanda Two, Bulbuley, Uraan, Googly Mohalla, and Yaqeen Ka Safar. These specific dramas were chosen purposefully due to the inclusion of Pashtun characters. A quantitative content analysis method was employed to examine the portrayal of Pashtuns in these prime-time Urdu dramas. All six dramas focused on depicting aspects of Pashtun life. The study's findings indicate that directors, producers, and actors effectively engaged the majority of the represented population. The dramas, which were both romantic and humorous, maintained a high level of entertainment without resorting to obscenity in dialogues. Language and gestures were used appropriately. In scenes set in Pashtun villages, proper Pashtun attire was consistently featured. Notably, despite the fact that the female characters in these shows were mostly non-Pashtuns, they portrayed Pashtun tribes convincingly. However, in sequences shot in urban settings, female characters were seen wearing alluring gowns that deviated from Pashtun tradition. This shift in attire was accompanied by a change in the behaviour of female actors, who exhibited more vulgar expressions. These aspects, observed in city dramas, presented a different image of Pashtuns, contradicting traditional Pashtun values.
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Lynn, Heery. "Readings in Review." Canadian Theatre Review 48 (September 1986): 137–41. http://dx.doi.org/10.3138/ctr.48.019.

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For lovers of radio drama who never enjoy the chance to read new Canadian radio scripts, this book will be a pleasure. It is well-designed and includes a preface, a critical Introduction, notes on production and textual provenance, a bibliography, and the scripts retain their extensive stage directions, including music and sound. The following sample from Gawain and the Green Knight reminds us of the demands playwrights felt free to make on producers, composers, and technicians in the golden age of radio drama:
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Pearce, Brian. "Beerbohm Tree's Production of ‘The Tempest’, 1904." New Theatre Quarterly 11, no. 44 (November 1995): 299–308. http://dx.doi.org/10.1017/s0266464x00009283.

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Herbert Beerbohm Tree (1853–1917) is remembered today as a great character actor, as a personality, and as a wit: but as a producer he is seldom considered an important or even a positive influence on the course of Shakespearean interpretation in the twentieth century. Focusing on Tree's 1904 production of The Tempest, Brian Pearce argues that Tree was in fact an original and inventive director. Contrasting the faint praise or contempt of theatre historians with the adoption of many of Tree's ideas in later literary criticism of The Tempest, Pearce also suggests that the acceptance of the right of contemporary experimental directors to act in effect as ‘scenic artists’ sits oddly with attitudes to Tree's work, in which he fulfilled precisely such a role. Brian Pearce completed his PhD at the University of London in 1992, and since returning to South Africa has worked as a theatre director. He is a member of the board of directors of the Durban Theatre Workshop Company, and also teaches drama at Technikon Natal.
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Khorana, Sukhmani. "Diverse Australians on television: from nostalgic whiteness to aspirational multiculturalism." Media International Australia 174, no. 1 (November 22, 2019): 29–38. http://dx.doi.org/10.1177/1329878x19863849.

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This article delivers preliminary findings from a series of interviews with Australian migrant producers, directors and writers. With the increasing calls for diversity in the media generally, and on television screens specifically from a wide range of stakeholders (institutions like Screen Australia, advocacy groups and high-profile media personnel of colour), there is ample empirical evidence that our public and commercial broadcasters have a long way to go in terms of ‘reflecting’ contemporary Australia. There is also more emphasis on institutionalised strategies, and looking towards overseas models to make this happen. Using the discourses of official and everyday multiculturalism, this article unpacks what it means to ‘reflect reality’, versus the meaning of various kinds of aspirational content, especially in drama and comedy. Such an analysis is crucial to understand the value of diversity beyond the simplistic rationale of ‘reflection’, and particularly in a changing mediascape.
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Dissertations / Theses on the topic "Drama producers and directors"

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Foo, Tee-Tuan. "Managing the Content of Malaysian Television Drama: Producers, Gatekeepers and the Barisan Nasional Government." Ohio University / OhioLINK, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1102522280.

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Bain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.

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Thesis (PhD)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
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Weber-Fève, Stacey A. "There's no place like home homemaking, making home, and femininity in contemporary women's filmmaking and the literature of the Métropol and the Maghreb /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148746370.

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Becker, Teresa A. "The self-perceived leadership characteristics of female Producers /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.

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Passon, Shannon Reeves Jennifer. "Moving up or moving out new job demands, ability to cope and burnout among television news producers and executive producers /." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6536.

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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 20, 2009). Thesis advisor: Jennifer Reeves. Includes bibliographical references.
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Law, Yuk-wa, and 羅玉華. "The poetics of absence: a study of Antonioni and Wenders." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B42577093.

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Law, Yuk-wa. "The poetics of absence a study of Antonioni and Wenders /." Click to view the E-thesis via HKUTO, 2002. http://sunzi.lib.hku.hk/hkuto/record/B42577093.

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Ott, Meredith C. "Child actor ethics : children in plays with adult themes /." Connect to title online (Scholars' Bank), 2009. http://hdl.handle.net/1794/9882.

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Lass, Barbara Frances. "Hans Richter : film artist /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778974.

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Lin, Yiping, and 林一苹. "Lou Ye: the birth of a personal eye (I)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44517798.

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Books on the topic "Drama producers and directors"

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TV creators: Conversations with America's top producers of television drama. Syracuse, N.Y: Syracuse University Press, 2000.

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Directing drama. London: Peter Owen, 1994.

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Meĭerkholʹd: Drama krasnogo Karabasa. Moskva: Izdatelʹstvo AO "Molodai︠a︡ gvardii︠a︡", 2018.

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Levine, Joseph E., Zero Mostel, Mel Brooks, and Sidney Glazier. The producers. Santa Monica, CA: MGM Home Entertainment, 2000.

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Taylor, Don. Days of vision: Working with David Mercer; television drama then and now. London: Methuen, 1990.

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Thomas, Meehan, and Kolnik Paul, eds. The producers. New York, N.Y: Talk Miramax Books, 2001.

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José Carlos Burle: Drama na chanchada. São Paulo: Imprensa Oficial, 2007.

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Katharina, Schmitt, and Krausser Helmut 1964-, eds. Theater als Utopie: Regisseure von morgen : [zum Festival "Radikal jung" im April 2010]. Leipzig: Henschel, 2010.

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Jack, Ralite, Renucci Robin 1956-, and Ralite Jack, eds. Bâtisseurs & artisans: Jean Vilar et Antoine Vitez, Jack Ralite et Robin Renucci. Toulouse: Éditions de l'Attribut, 2013.

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Road to Nirvana: A play in two acts. New York: Hill and Wang, 1991.

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Book chapters on the topic "Drama producers and directors"

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Ahmed, Ishtiaq. "Other Prominent Directors and Producers." In Pre-Partition Punjab’s Contribution to Indian Cinema, 115–18. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003406266-21.

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Lundskaer-Nielsen, Miranda. "Nonprofit Directors in the 1990s." In Directors and the New Musical Drama, 89–107. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_7.

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Lundskaer-Nielsen, Miranda. "New Horizons: Nonprofit Musical Drama." In Directors and the New Musical Drama, 73–87. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_6.

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Frasca, Simona. "The Record Labels, the Producers, and the Orchestra Directors." In Italian Birds of Passage, 161–72. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137322425_7.

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Lundskaer-Nielsen, Miranda. "Beyond the Logos: West End Musical Drama." In Directors and the New Musical Drama, 59–71. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_5.

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Lundskaer-Nielsen, Miranda. "Introduction: Anglo-American Perspectives." In Directors and the New Musical Drama, 1–14. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_1.

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Lundskaer-Nielsen, Miranda. "The Legacy of the 1980s and 90s." In Directors and the New Musical Drama, 141–49. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_10.

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Lundskaer-Nielsen, Miranda. "Interviews." In Directors and the New Musical Drama, 151–210. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_11.

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Lundskaer-Nielsen, Miranda. "Harold Prince in Context." In Directors and the New Musical Drama, 15–28. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_2.

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Lundskaer-Nielsen, Miranda. "From Cabaret to Sweeney Todd: Musical Drama on Broadway." In Directors and the New Musical Drama, 29–44. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611245_3.

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Conference papers on the topic "Drama producers and directors"

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Fernando, B. S. C. "Creating realistic and safe "Dummy Props" for medical drama and action scenes." In Awakening the economy through design innovation. Department of Integrated Design, University of Moratuwa, Sri Lanka, 2023. http://dx.doi.org/10.31705/idr.2023.5.

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The film industry, as a captivating visual medium, thrives on its ability to intertwine reality and fiction, captivating audiences with compelling storylines. At the heart of film production lies the significance of props, instrumental in bringing characters to life and shaping the narrative. These inanimate objects serve as the backdrop to characters, establish settings, time periods, and cultural contexts, and often act as powerful symbols influencing societal trends. This research delves into the creation of realistic medical props for medical drama (films) scenes, where real props are not viable due to safety concerns. The challenge lies in crafting dummy props that convincingly mimic real objects, ensuring the safety of actors while maintaining an immersive experience for audiences. While international film industries rely on specialized design agencies and facilities, the Sri Lankan film industry faces limitations in accessing such resources and dedicated design institutes. Therefore, the creation of low-cost yet authentic props becomes a significant obstacle. To address this, the research combines technical expertise, medical knowledge, technical skills, and hands-on experience to develop props adhering to safety standards while upholding a high level of realism. These props enhance storytelling in medical dramas (films), providing a compelling and immersive experience. Creating realistic and safe props commences with a meticulous analysis of the film’s script and scene requirements. For medical drama scenes, extensive research into medical equipment, procedures, and terminology ensures accuracy and authenticity. Consultation with medical experts provides valuable insights during the design process, while material selection ensures the dummy props closely resemble their real counterparts in appearance and texture. Medical sequences demand props that can withstand physical interactions without endangering actors. Throughout the creation process, continuous collaboration between prop designers, directors, and actors is crucial to ensure seamless integration of props into the film’s narrative and performances. Visual representations and simulations aid in refining functionality and appearance, resulting in a coherent visual style aligned with the film’s vision. In conclusion, this research successfully demonstrates the creation of realistic and safe props for medical drama (films) in the Sri Lankan film industry. The fusion of technical expertise, medical knowledge, and creative ingenuity has produced props that elevate the cinematic experience while prioritizing actor safety. By overcoming limitations in accessing specialized design agencies, this research offers a practical and cost-effective solution catering to the unique needs of the Sri Lankan film industry, contributing to its growth and development.
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Coney, Shun, and Yasunobu Ito. "The production process of films from a relational perspective: A case study of independent films about Parkinson's disease in Japan." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002555.

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The purpose of this paper is to clarify how creativity is produced in filmmaking from a relational perspective. Creativity here refers to the fact that films that contain original ideas and evoke sympathy in the audience are not produced solely through the internal mechanisms of individuals, but rather as a result of the collective actions and activities of various people.In recent years, movies have moved beyond the confines of theaters, and infrastructures such as Amazon Prime and Netflix are rapidly expanding. Against this backdrop, independent Japanese films have been receiving high acclaim overseas. The so-called independent films are not films that come out with huge budgets and a fixed release destination like the major film systems, but films that are planned and produced by the filmmakers themselves without any financial resources. Independent films can have an impact on people despite the risk of completion and release, but their reputation is focused on the director and producer. For this reason, the relationship between actors other than the director and producer in filmmaking is not fully clarified.Filmmaking is a multi-layered and contingent creativity that is created through the long-term interaction of not only the director, producer, and cast, but also various other actors such as equipment, script, and location. While independent films allow for a greater degree of freedom in planning, they are also subject to complexities and volatility, such as difficulties in obtaining financing and differences in the image of the film among the staff, which can prevent the project from proceeding as planned at the outset.The subject of the study is Parkinson's disease (PD) patients and movies about it. PD is an intractable disease for which there is currently no curative treatment, and which causes progressive symptoms such as tremors in the limbs and stiffness in the muscles that interfere with daily life. In order to control the progression of the disease, it is said that regular exercise therapy and rehabilitation are essential, along with daily medication. The film will be produced with the cooperation of the PD Patients Association, which has 8,000 members, and will consist of two parts: a drama about the life of the main character who was diagnosed with PD in his 40s, and a documentary about several PD patients in their 30s to 60s. The research was conducted by one of the authors (a filmmaker) using ethnography: from December 2020 to November 2021, he conducted participant observation of the relationships between the actors involved in the project and the living conditions of the PD parties, and interviewed them. Based on these observations, we conducted a series of interviews. The PD parties who would become the informants and the filmmakers had numerous dialogues. As a result, their social and living environments were unraveled.
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Koroliova, Elfrida. "The book on theater – an element of cultural heritage." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.07.

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The article “The book on theater – an element of cultural heritage” includes publications on Moldovan Drama Theater, from the late 60s of the XX century to the 20s of the XXI century. Books signed by D. Prilepov, L. Cemortan, E. Coroliova, N. Bătrânu, V. Tăzlăuanu, N. Rojkovskaia, B. Zavatin, P. Proca, P. Pelin, A. Manoil, A. Ghilaș, A. Roșca, I. Nechit, L. Ungureanu, V. Fedorenco, T. Kotovici and others analyze the evolution processes of the Moldovan theater during the decades, of personalities – directors, actors, who worked in the theaters of the republic “Mihai Eminescu” National Theater, “Luceafărul” Theater, “B. P. Hasdeu” Musical-Dramatic Theater in Cahul, “Vasile Alecsandri” National Theater from Bălți, etc.
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Molnar, Angelika. "CONTEMPORARY HUNGARIAN PRODUCTIONS OF MAXIM GORKY'S PLAYS “AT THE BOTTOM”." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3692.rus_lit_20-21/49-52.

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The text of the paper presents the most important modern productions of Maxim Gorky's drama “At the Bottom” (The Lower Depths) on the Hungarian theater stage. The author examines new solutions with the help of which Hungarian scriptwriters and directors theatrically implement a verbal work. The play is present in the repertoire of Hungarian theaters to this day, as one can feel the spiritual kinship between Russian and Hungarian people, the commonality between Russian and Hungarian life, the urgency of the problem of the impossibility of getting from the bottom of society to the top. The popularity of “At the Bottom” is also explained by the fact that Gorky transforms Chekhov's model, endowing it with eternal philosophical content, thesis, and the transfer of conflict to the social plane. Hungarian theatrical art is based on the realistic presentation and execution of the text. However, there are also more daring, modernized performances with radical staging solutions, for example, the rejection of certain scenes or the addition of new ones. The focus of the review is on those modern interpretations that have chosen the “golden mean”.
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Reports on the topic "Drama producers and directors"

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Scott, Bari. Science Literacy Project for Mid-Career Public Radio Producers, Reporters, Editors and News Directors. Office of Scientific and Technical Information (OSTI), December 2012. http://dx.doi.org/10.2172/1062596.

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Román, Marcela, Jorge Jimenez, and Jorge Cornick. Public-Private Collaboration on Productive Development Policies in Costa Rica. Inter-American Development Bank, February 2014. http://dx.doi.org/10.18235/0011623.

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Public-private collaboration in productive development policy in Costa Rica frequently takes the form of policy co-governance: an autonomous institution in charge of policy for a particular economic sector is created, with a board of directors comprising representatives from both the public and the private sectors, often with the public sector in a minority position. This paper analyzes five cases of co-governance: tourism, fisheries, rice, coffee, and the attraction of foreign direct investment (FDI). When co-governance has been used in conjunction with market discipline and as a means to discover and remove obstacles to higher productivity, as in tourism and FDI attraction, PDPs have been quite successful. When, on the contrary, it has been used to shield producers from market discipline or to allow unsustainable use of natural resources, as in rice and fisheries, they have turned into failures. Coffee stands in between, with considerable social achievements but only modest competitiveness achievements.
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