Academic literature on the topic 'Jewish television producers and directors'
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Journal articles on the topic "Jewish television producers and directors"
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.
Full textNobes, 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.
Full textEschenfelder, 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.
Full textShandler, 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.
Full textSmart, 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.
Full textMorney, 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.
Full textSexton, 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.
Full textMehta, 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.
Full textKhorana, 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.
Full textWiedemann, 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.
Full textDissertations / Theses on the topic "Jewish television producers and directors"
Becker, Teresa A. "The self-perceived leadership characteristics of female Producers /." Lynchburg, Va. : Liberty University, 2006. http://digitalcommons.liberty.edu.
Full textPasson, 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.
Full textFoo, 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.
Full textBechan, Nirvana. "Women in production : the South African film and television production industry." Thesis, 1999. http://hdl.handle.net/10413/8731.
Full textWindell, Anna Catharina. "Waardetoevoeging van inligting vir die televisie-programmaker." Thesis, 2014. http://hdl.handle.net/10210/9522.
Full textTelevision 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"
Jerusalem, take one!: Memoirs of a Jewish filmmaker. Carbondale: Southern Illinois University Press, 2000.
Find full textKarina, Vartanova, Gurvich Maĭi͡a︡, and Uralova Alla, eds. Na polputi--: Grigoriĭ Gurvich. Izrailʹ: Inkombuk, 2002.
Find full textBlack, David. An impossible life: A bobeh myseh : a novel. Wakefield, R.I: Moyer Bell, 1998.
Find full textPeter, Adam. Not drowning but waving: An autobiography. London: A. Deutsch, 1995.
Find full textLewis, Jeffrey. Adam the king. London: Haus, 2010.
Find full textAdam the king: A novel. New York: Other Press, 2008.
Find full textFries, Charles W. Chuck Fries, godfather of the television movie: A history of television. Beverly Hills, CA: Monte Christo Publications, 2010.
Find full textSteenland, 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.
Find full textBritish television: An insider's history. Jefferson, NC: McFarland, 2000.
Find full textGreenberg, Keith Elliot. Charles, Burrows & Charles: TV's top producers. Woodbridge, Conn: Blackbirch Press, 1995.
Find full textBook chapters on the topic "Jewish television producers and directors"
Banks, Jack. "Video Clip Producers and Directors." In Monopoly Television, 155–74. Routledge, 2018. http://dx.doi.org/10.4324/9780429498848-8.
Full textHughes, Kit. "Conclusion." In Television at Work, 207–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.003.0007.
Full textMurphy, 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.
Full textSweeney, 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.
Full textO’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.
Full textNette, Andrew. "Introduction: ‘History Really is Gone’." In Rollerball, 7–20. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781911325666.003.0001.
Full textShuback, 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.
Full text"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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