Relevant bibliographies by topics / Jewish television producers and directors

Academic literature on the topic 'Jewish television producers and directors'

Author: Grafiati
Published: 28 February 2023

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Journal articles on the topic "Jewish television producers and directors":

1

Adams, Terry. "Producers, Directors, and Horizontal Communication in Television News Production." Journal of Broadcasting & Electronic Media 51, no. 2 (July 12, 2007): 337–54. http://dx.doi.org/10.1080/08838150701305032.

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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.
3

Eschenfelder, Christine C. "But Can They Write? Television News Industry Assessment of the Skills of Broadcast Journalism Students and Recent Graduates." Journalism & Mass Communication Educator 75, no. 2 (October 28, 2019): 226–32. http://dx.doi.org/10.1177/1077695819884172.

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Broadcast journalism writing and reporting classes are designed to help students develop writing skills for multiple platforms, but many television news professionals think student writing and other necessary skills for the industry need improvement. Television news anchors, reporters, producers, and news directors who completed an online survey found many students need improvement in areas including writing skills, finding story ideas, storytelling, and writing to deadline. Survey participants also identified the need for robust internships and instructors with relevant skills and training. The purpose of this essay is to explore the survey comments which offer suggestions for both the academy and industry to improve multimedia student outcomes.
4

Shandler, Jeffrey. ""This Is Your Life": Telling a Holocaust Survivor's Life Story on Early American Television." Narrativization of the News 4, no. 1-2 (January 1, 1994): 41–68. http://dx.doi.org/10.1075/jnlh.4.1-2.04thi.

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Abstract The appearance of Hanna Bloch Kohner on a 1953 episode of the series This Is Your Life is among the earliest presentations of a Holocaust survivor's personal history on American television. Analysis of the program explores how television—a collaborative, corporate medium—shapes the telling of an individual's life story, and how the program relates the story of the Holocaust in terms of personal history. The article also examines how the program's producers employed television's distinctive characteristics to enable, limit, or otherwise shape the presentation of the Holocaust, and how the episode indicates that its creators understood its subject as being somehow singular, even as the conceptualization of the Holocaust was emerging, before the term Holocaust entered American public discourse. The article also considers how the program reflects the social and political context of post-World War II America in general and postwar American Jewish life in particular. Finally, the article considers how analysis of this program offers insight into other, later presentations of the Holocaust on American television, especially those dealing with the life story of an individual survivor. (Yiddish Studies/Jewish ethnology)
5

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.
6

Morney, Elisabeth, and Hanna Vilkka. "Lajityypit ylittävä laatu televisio-ohjelmissa." Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 4 (December 20, 2021): 40–56. http://dx.doi.org/10.23994/lk.112963.

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Artikkelin tavoitteena on kuvata televisioalan tekijöiden näkemyksiä laatukriteereistä sekä sitä, millaisia lajityypit ylittäviä laatukriteereitä löytyy audiovisuaalisella alalla. Aineisto on koottu Yhdysvalloissa ja Suomessa haastattelemalla alan ammattilaisia, jotka toimivat tuottajina, ohjaajina, kouluttajina tai johtavissa asemissa palkintojärjestöissä.Analyysi on toteutettu fenomenografisesti. Laatukeskustelun ja televisio-ohjelmien keskinäisen vertailun tuloksena nousi esiin kolme lajityypit ylittävää laatukriteeriryhmää. Nämä ryhmät ovat 1) ammattitaito, 2) vaikutus ja 3) suosio.Avainsanat: laatu, televisiotuotanto, televisiotutkimus, lajityyppi, fenomenografiaQuality in Television Across Genres: Views on Criteria of Quality Amongst Television ProfessionalsThe aim of this article is to explore criteria of quality in the views of professionals in the field of television and what kind of criteria of quality across genre can be found in the audiovisual field. Data has been compiled in the United States and Finland by interviewing professionals in the field of television, who act as producers, directors, educators or in leading positions in award organizations, such as Peabody- and Emmy Awards.The analysis has been carried out phenomenographically. As a result of the quality discussion and the mutual comparison of television programs, three groups of quality criteria exceeding the genres emerged. These groups are 1) professionalism, 2) impact, and 3) popularity.Keywords: quality, genre, television production, television research, phenomenography
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Sexton, Max, and Dominic Lees. "Fargo: Seeing the significance of style in television poetics?" Critical Studies in Television: The International Journal of Television Studies 14, no. 3 (August 12, 2019): 343–61. http://dx.doi.org/10.1177/1749602019853792.

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This article explores the adaptation of the original film to television and how a strain of art or independent cinema contributed to the development of the first series of Fargo (2014–present). By making this comparison, the transition to television of the storyworld established by the Coen brothers raises questions about who is talking in the TV drama – the Coens or makers of the series. At the same time, Fargo can be more easily explained and understood as a strategy by writers, directors and producers that further complicate ideas to do with Noah Hawley, as its showrunner and the show’s single-author status. In Fargo, fidelity to the Coen brothers as a testament to the memory of the original film is set against questions about the reliability of storytelling using complex imagery. By alternating between different levels of narration signified by its stylistic tonal qualities, Fargo succeeds in producing multiple meanings, representations and effects that call attention to textual pleasures in the complex television series.
8

Mehta, Smith. "Television’s role in Indian new screen ecology." Media, Culture & Society 42, no. 7-8 (February 27, 2020): 1226–42. http://dx.doi.org/10.1177/0163443719899804.

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In this article, I discuss the various issues that have prompted select creators such as writers, directors, actors, producers and casting agents to focus their creative energies on Internet-based content. The article’s main findings illustrate that because a growing segment of Indian content, new media practitioners are disillusioned by the programming and industrial practices of television, they increasingly embrace digital delivery platforms as the preferred outlets for their creative expressions. By drawing from critical media industry studies framework, the aim of this research is to examine the everyday practices of content creators and compare the formal and aesthetic qualities of their textual artefacts, as these professionals navigate the larger structural tensions between television and Internet in India. The article marshals evidence based on qualitative interviews, trade press, and news articles to suggest that the television industry’s production culture discourages creators from seeking meaningful work and instead look for opportunities on the Internet.
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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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Wiedemann, Thomas. "Struggling for legitimate meaning: Agent–structure dynamics in German filmmaking." International Journal of Media & Cultural Politics 16, no. 3 (September 1, 2020): 291–308. http://dx.doi.org/10.1386/macp_00030_1.

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Given the state sponsorship of film production in Germany, this article examines general mechanisms in the formation of meaning in German filmmaking. With reference to Schimank’s framework of agent–structure dynamics and based on a constructivist understanding of the world, the results of 97 expert interviews with screenwriters, directors, producers, distributors, cinema theatre operators, funding representatives and public television editors, as well as document analyses, show that the medium’s construction of reality is anything but unconditioned. On the contrary, due to the fundamental role of film funding and public television in the agent constellations intertwined with social structures that shape the film production process in Germany, the medium’s key communicators are confronted with expectations that go far beyond economic parameters. More precisely, the article reveals that German filmmaking reflects a political dimension, and expresses hierarchies and constraints that prompt struggles for legitimate meaning and challenge any autonomous practice in the field.
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Journal articles Books

Dissertations / Theses on the topic "Jewish television producers and directors":

1

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.
3

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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Bechan, Nirvana. "Women in production : the South African film and television production industry." Thesis, 1999. http://hdl.handle.net/10413/8731.

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Windell, Anna Catharina. "Waardetoevoeging van inligting vir die televisie-programmaker." Thesis, 2014. http://hdl.handle.net/10210/9522.

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M.Bibl.
Television producers form a unique user group that mainly requires information regarding audio-visual material in order to produce or to enhance a television programme Information services can contribute to the successful completion of a programme by making information available. The aim of this study is to determine whether information services can enhance information for producers by adding value. The question is also asked which value-added level of information is required. A literature study was done to -examine the term "value-added" in order to be able to apply it to the information needs of television producers; -study the work environment of television producers in order to determine their information needs. An empirical investigation was executed by means of a layered random sampling test. Structured interviews were conducted by means of a questionnaire with a random portion of the television producer corps of the SABC. Personal details were gathered, as well as the use of information sources and services within the SABC and to which value- added level of information they require for a production. Value-added levels were based on Taylor's value-added continuum which consists of information that is enhanced to level two, Information Knowledge, followed by level three, Productive Knowledge, which leads to level four, Action. A television production is completed in four phases, that is the planning and research phase, filming phase, editing phase and final mixing phase .. The results showed that during the planning and research phases television producers require access to all possible information sources and services within the SABC. The information specialist can add value to the first level of value adding. In certain cases the television producers require information during the editing phase, during which the information specialist can add value up to the third level. The results of the research were distilled into a matrix, structured to indicate the levels of added-value to the television producer. Recommendations were made in order to provide a better information service.

Books on the topic "Jewish television producers and directors":

1

Alan, Rosenthal. Jerusalem, take one!: Memoirs of a Jewish filmmaker. Carbondale: Southern Illinois University Press, 2000.

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Karina, Vartanova, Gurvich Maĭi͡a︡, and Uralova Alla, eds. Na polputi--: Grigoriĭ Gurvich. Izrailʹ: Inkombuk, 2002.

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Black, David. An impossible life: A bobeh myseh : a novel. Wakefield, R.I: Moyer Bell, 1998.

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Peter, Adam. Not drowning but waving: An autobiography. London: A. Deutsch, 1995.

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Lewis, Jeffrey. Adam the king. London: Haus, 2010.

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Lewis, Jeffrey. Adam the king: A novel. New York: Other Press, 2008.

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Fries, Charles W. Chuck Fries, godfather of the television movie: A history of television. Beverly Hills, CA: Monte Christo Publications, 2010.

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Steenland, Sally. Prime time power: Women producers, writers and directors in TV. Washington, D.C: National Commission on Working Women of Wider Opportunities for Women, 1987.

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Scott, Peter Graham. British television: An insider's history. Jefferson, NC: McFarland, 2000.

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Greenberg, Keith Elliot. Charles, Burrows & Charles: TV's top producers. Woodbridge, Conn: Blackbirch Press, 1995.

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Book chapters on the topic "Jewish television producers and directors":

1

Banks, Jack. "Video Clip Producers and Directors." In Monopoly Television, 155–74. Routledge, 2018. http://dx.doi.org/10.4324/9780429498848-8.

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Hughes, Kit. "Conclusion." In Television at Work, 207–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.003.0007.

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Acting as an extended “acknowledgments,” the conclusion addresses the conditions of possibility that enabled research for the book—both the individuals who shared their time and resources, and the institutions, especially archives, that shaped this work. The author also describes a series of interviews and interactions with corporate communications consultants, television directors and producers, trade organization leadership, authors, teachers, and market researchers who guided her investigations into corporate television. It argues that it is necessary to distinguish between the desires of multinational capital and the aims of the people who devoted their lives to television at work, many of whom were (and are) sincerely invested in making the workplace more humane. In following this latter ambition—the workplace as an opportunity to build community, as locus of personal connection and self-actualization—it may be possible to renew attempts to build broad-based worker solidarity by developing the conditions of possibility for just labor.
3

Murphy, Susan Elaine. "Leadership Lessons from Creative Industries: The Case of Producers, Directors, and Executives in Film and Television." In Monographs in Leadership and Management, 241–73. Emerald Group Publishing Limited, 2016. http://dx.doi.org/10.1108/s1479-357120160000008008.

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Sweeney, David. "The OA as a Streaming Serialised Drama." In The OA, 25–44. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800859425.003.0004.

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Although, as discussed in this chapter, The OA contains implied criticisms of the digital age, it is nevertheless difficult to conceive of The OA being produced in any other context than that of the current climate in which television is no longer perceived as an inferior medium to cinema but instead as a source of high quality or ‘prestige’ serial drama often featuring ‘A-list’ cinema actors and directors. This type of TV production can be traced back to the ‘quality television’ of MTM, as I also discuss further. This chapter evaluates negative criticisms of The OA as self-indulgent and/or ‘bloated’, placing them in the context of Marling and Batmanglij’s stated ambitions of the series as well as that of the narrative opportunities provided to them as producers of ‘prestige’ streaming content, which can be ‘binge viewed’.
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O’Farrell, Tim. "Spectral Elaine May—The Later Mike Nichols Collaborations and the Myth of the Recluse." In ReFocus: The Films of Elaine May, 202–18. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440189.003.0011.

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Elaine May's documentary Mike Nichols: An American Master (2016) surveys Nichols' life and, in particular, work as a noted Hollywood director. The American Masters series, described on the PBS website as "an award-winning biography series", is designed to produce biographies of leading figures in American culture. May's contribution to the series is at first sight a conventional short form television documentary profile of an artist. However, it repays examination both as an example of May's artistry (the opening includes a signature sly moment, importing archival footage of a blustery Adolf Hitler to reference Nichols German Jewish background, reminding us of May and Nichols' shared heritage) and as a launching pad for dissecting the way May and Nichols' careers have become intertwined in fact and in Hollywood legend. I will frame the documentary's content by considering other May tributes to Nichols (such as speeches at the AFI Life Achievement Awards and at the Kennedy Center Honors) and her early comedy work with Nichols, as well as biographical background to material which is suggested or touched on in the documentary
6

Nette, Andrew. "Introduction: ‘History Really is Gone’." In Rollerball, 7–20. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325666.003.0001.

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This introductory chapter provides an overview of Rollerball, the 1975 dystopian science fiction film of Canadian-born director and producer Norman Jewison. Rollerball was based on a short story in Esquire magazine, ‘Roller Ball Murder’, by William Harrison. While the increasingly extreme nature of reality television remains a central framework within which to critically analyse Rollerball, the election of Donald Trump as the 45th President of the United States in November of 2016 opens up new ways of watching the film and heightens other ways in which it remains relevant. The most obvious of these is Rollerball's depiction of unchecked corporate power. Another aspect of Rollerball's narrative highlighted by the Trump presidency is the rise of so-called ‘fake news’. This book examines how the film simultaneously exhibits the cinematic aesthetics of mainstream, exploitation, and art-house cinema, in the process transcending its commercial prerogative of action entertainment to be a sophisticated and disturbing portrayal of a dystopian future.
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Shuback, Alan. "Hollywood Park." In Hollywood at the Races, 63–78. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813178295.003.0005.

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Hollywood couldn’t get enough of horse racing, which led to the establishment of a third track. However, there was an underlying reason for the creation of Hollywood Park in Inglewood in 1938: anti-Semitism. Jews were not allowed to be members of the swank Turf Club at Santa Anita, where business deals and social contacts were made on a daily basis. Almost all the leading producers in Hollywood were Jewish, so Jack and Harry Warner mapped plans to build a racetrack of their own, with help from a large segment of the film community. Overcoming the powers that be at Santa Anita and the California Horse Racing Board was difficult, but when Hollywood Park finally opened, it was an instant success. Through the years, its board of directors included the likes of Mervyn LeRoy and Cary Grant, and it ultimately became the site of the first Breeders’ Cup in 1984. A long, slow demise led to its closing in 2013, the prime example of the twin declines of horse racing and cinema in America.
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"Getting his start producing lms with American director Paul Williams in the UK, Edward R. Pressman set the tone for his lmmaker-driven, globally-minded independent lm career. With more than 80 titles to his credit now, Pressman continues to make lms with an indie edge, while also keeping his eye on opportunities in foreign markets. Pressman established a New York-based production hub with Williams in the late 1960s and bankrolled their rst productions with support from his family’s toy business. After Williams decided to stop making lms, Pressman continued to produce. Over the years, he has helped launch the careers of an eclectic range of directors. The maverick producer made early lms by Brian De Palma, Terrence Malick, Oliver Stone, Kathryn Bigelow, Alex Proyas, and crossover talents such as musician David Byrne (True Stories, 1986), among others. Pressman has had ongoing collaborations with many, particularly with Stone: He produced Stone’s feature debut, horror-thriller The Hand (1981), followed by Wall Street (1987), Talk Radio (1988), and sequel Wall Street: Money Never Sleeps (2010). Pressman and Stone have worked together as producers on multiple lms, such as Bigelow’s Blue Steel (1989) and Barbet Schroeder’s Reversal of Fortune (1990). Stone also co-wrote Conan the Barbarian (1982), which he developed with the producer. Pressman has also collaborated many times with Abel Ferrara, starting with his cult lm Bad Lieutenant (1992). Pressman and Malick continue to make lms together through their Sunower Productions label. So far, Sunower has yielded ve projects marked by evocative imagery and global talent and subjects: Ethiopian runner Haile Gebrselassie biopic Endurance (1999), Zhang Yimou’s comedy Happy Times (2000), Hans Petter Moland’s Vietnam GI child drama The Beautiful Country (2004), David Gordon Green’s thriller Undertow (2004), and Michael Apted’s transatlantic slave trade period drama Amazing Grace (2006). Pressman’s eponymous production label continues to churn out lmmaker-driven projects spanning various genres. And the producer is also making the most out of his prior successes with new lms and television series inspired by iconic lms from the Pressman library." In FilmCraft: Producing, 139–41. Routledge, 2013. http://dx.doi.org/10.4324/9780240823881-54.

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