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Journal articles on the topic 'LGBTQ film and television'

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Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2024

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1

Demus, Axelle. "Queer Memory Beyond the Archive: Reading LGBTQ Pasts on Screen Towards Queer Futures." Public 33, no. 65 (June 1, 2022): 332–33. http://dx.doi.org/10.1386/public_00112_5.

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A review of Anamarija Horvat’s 2021 book, Screening Queer Memory: LGBTQ Pasts in Contemporary Film and Television, in which she sets out to examine how queer memory is represented on and created by contemporary US and UK film and television. In this review, the author examines the claims and goals of the book, as well as its strengths and weaknesses.

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2

Luo, Qing. "The Research on the Representation of LGBTQ in Eastern and Western Films." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1116–26. http://dx.doi.org/10.54254/2753-7064/3/2022936.

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In recent years, increased public awareness and understanding of the LGBTQ community have led some film and television productions to venture into LGBTQ themes. However, there is still some under-representation in these films. These films often come from the independent sector of film, and there is a lack of such films in the major Hollywood studios. Stereotypes about this group still exist despite the lack of diversity and representation of this group in media. Through visual analysis, discourse analysis and other analysis methods, the author examines the representation of LGBTQ people in both Eastern and Western films and uses these three films: Farewell My Concubine, Portrait of a Lady on Fire, and Call Me By Your Name as examples. Through this study, the author found that the expressions of this group in Eastern and Western films and TV series differed greatly, with the expressions in Eastern countries being more subtle and the expressions in Western countries being more intuitive and diverse. This code was relaxed in the 1960s-1970s, which also signalled the dawn of the feminist and homosexual movements.

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Navalón Guzmán, Corpus. "Anamarija Horvat. Screening Queer Memory: LGBTQ Pasts in Contemporary Film and Television." ES Review. Spanish Journal of English Studies, no. 43 (November 23, 2022): 325–29. http://dx.doi.org/10.24197/ersjes.43.2022.325-329.

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4

Cortvriend, Jack. "Stylistic convergences between British film and American television: Andrew Haigh’s Looking." Critical Studies in Television: The International Journal of Television Studies 13, no. 1 (February 25, 2018): 96–112. http://dx.doi.org/10.1177/1749602017746115.

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This article compares Andrew Haigh’s HBO series, Looking, with his feature films Weekend and 45 Years. It addresses the role of the showrunner, particularly in relation to transmediality and transnationality suggesting there is a convergence between British film and American quality television. In doing this, it also addresses the particularities of Haigh’s style, representations of homonormativity and LGBT+ characters in popular television and the representation of national and ethnic difference in Looking.

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5

Horvat, Anamarija. "Crossing the Borders of Queer TV: Depictions of migration and (im)mobility in contemporary LGBTQ television." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (September 2020): 280–301. http://dx.doi.org/10.1177/1749602020934091.

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This article focuses on contemporary queer television and examines its depiction of LGBTQ border crossings and migration. In recent years, a shift in the American and British televisual landscape has seen queer television drama veering away from a predominant focus on white, middle-class characters, towards an exploration of immigrant positionalities and the geopolitical relevance of state borders. However, these changes in media representation have not yet been granted sufficient academic attention. This article aims to fill this gap through analysing three relevant examples of US and UK queer television; Transparent (2014–2019) , Years and Years (2019) and Orange is the New Black (2013–2019).

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Shaw, Gareth, and Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship." China Information 32, no. 2 (October 30, 2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.

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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology and Web 2.0, ranging from digital video formats to Internet-based distribution via social media networks and video-hosting platforms, provide opportunities for Chinese audiences to access films and documentaries dealing with LGBT themes. This empirical study assesses how production, promotion and consumption of queer documentary films are influenced by the development of social media within Chinese cyberspace. Through close readings of microblogs from SinaWeibo, this study combines analysis of contemporary research with digital social rights activism to illustrate contemporary discourse regarding film-based LGBT representation in China. Finally, the study comments on the role that documentary filmmaking plays in China’s gay rights movement, and discusses the rewards (and challenges) associated with increased levels of visibility within society.

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7

Cameron-Gardos, Paris. "Hand-out: Rethinking coming out in Flemish audio-visual culture." Tijdschrift voor Genderstudies 23, no. 4 (December 1, 2020): 337–53. http://dx.doi.org/10.5117/tvgn2020.4.002.came.

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Abstract Bavo Defurne’s film Noordzee, Texas (2011) provides a unique cultural object with which to re-examine the discourses concerning queer representation in Flemish audio-visual media, the normative acceptance of the Flemish LGBTQ+ community, and the importance of coming out narratives. Vanlee (2019) and Vanlee, Dhaenens, and Van Bauwel (2020) argue that the banal representations of queer identity in Flemish television has privileged normative discourses about both sexuality and Flemish identity. In the film, coming out both takes place and never occurs. The deathbed scene presents coming out as a moment of disorientation from the normative. Sara Ahmed’s (2006) concept of disorientation is employed as a tool to help develop a pluralistic definition of coming out that takes into account the endless repetition and adaptability of the act in practice. The scene illuminates the vulnerability of conventionally saturated notions of coming out, being out, and gay identity. The film’s narrative, and its Flemish roots, serve as analytical tools to help better understand how coming out can be enacted in a manner that forces the audience to re-evaluate how identities are formed and adopted.

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8

Engchuan, Rosalia Namsai. "A Political Dance in the Rain." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 176, no. 1 (March 19, 2020): 7–36. http://dx.doi.org/10.1163/22134379-bja10002.

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Abstract Queer films are largely absent from Indonesian cinema and television screens due to the country’s current climate of LGBT ‘moral panic’. This article examines how, two decades after the reformation, Indonesian film practitioners are forced to navigate complex configurations of power and knowledge—negotiating social, political, and religious entanglements through their cinematic practices. My analysis is focused on komunitas film (film community/ies) and, more specifically, events and activities surrounding Luhki Herwanayogi’s short film On Friday Noon (2016), which chronicles the emotionally and physically fraught journey of a transgender Muslim woman as she seeks to perform Friday prayers. Drawing on this example, the article explores the disruptive potential of cinematic practice to challenge and nullify the ostensible binary between Islam and queerness, showing alternative ways of being Muslim in contemporary Indonesia, where piety and sexual identity often come together in unexpected ways.

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9

Jackson, Maghan Molloy. ""Reading Too Much into It": Affective Excess, Extrapolative Reading, and Queer Temporalities in MCU Fanfiction." JCMS: Journal of Cinema and Media Studies 63, no. 1 (September 2023): 30–52. http://dx.doi.org/10.1353/cj.2023.a910958.

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abstract: This article engages José Esteban Muñoz's concept of queer utopian temporality through the heuristic of fanfiction. Beginning with a discussion of accusations of "excessive reading" as a normalizing disciplinary tactic of media viewership, I problematize representations of LGBT+ experience in mainstream television and cinema through Muñoz's figuration of "straight time." I then turn to close readings of several fannish texts created in conversation with the 2014 Marvel Cinematic Universe film Captain America: The Winter Soldier (Anthony Russo and Joe Russo) to demonstrate fanfiction's utility in imagining queer utopian temporalities through the practice of "reading too much into" extant narrative media texts.

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10

Glenn, Clinton. ""We are the new Lithuania"." lambda nordica 25, no. 3-4 (April 26, 2021): 54–78. http://dx.doi.org/10.34041/ln.v25.708.

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In the Baltic States, LGBT representation in the media is limited at best. While LGBT activism continues to gain support and visibility, LGBT characters are considerably less common on film and television, and only Lithuania has produced films with openly gay or lesbian characters in main roles. This stands in contrast to the tendency in Baltic media and politics to lay claim to Nordic values and to identify as Northern European rather than Eastern European. In this paper I examine how two Lithuanian films grapple with identity and place in their depictions of gay characters. Porno Melodrama (Romas Zabarauskas, 2011) follows a gay couple as they are forced to choose between nationalistic homophobia and fleeing to “safer” cities in Western Europe. Nuo Lietuvos Nepabėgsi (You Can’t Escape Lithuania, Romas Zabarauskas, 2016) features a fictionalised version of its director in a meta-narrative meditation on the meaning of cinema as well as the place of queerness in the “new” Lithuania. In this article I interrogate how sexual and national identity are placed in contra-distinction to one another in the two films by Romas Zabarauskas: in Porno Melodrama, where gay identity is met with violent retribution; and in You Can’t Escape Lithuania, where queerness serves as a critique of the underlying foundations of gender, sexuality and nationalist narratives of belonging. I critique Western conceptions of homonormativity and homonationalism, where their problematic mapping onto a Baltic context fails to take into account the diverging reality in which neoliberalism has not been accompanied by more inclusive attitudes to sexual and gender diversity.

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11

Vázquez-Rodríguez, Lucía-Gloria, Francisco-José García-Ramos, and Francisco A. Zurian. "The Role of Popular Culture for Queer Teen Identities’ Formation in Netflix’s Sex Education." Media and Communication 9, no. 3 (September 13, 2021): 198–208. http://dx.doi.org/10.17645/mac.v9i3.4115.

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Queer teenagers are avid readers of popular culture; as numerous audience studies prove, television plays a significant role in identity-formation for LGBTIQ+ youth, providing them with the information about sexuality, gender roles or non-normative relationships usually unavailable in their educational and home environments. In this article we analyze how some of the protagonists of Netflix’s TV show <em>Sex Education </em>(2019-present) utilize popular culture as a tool to explore their desires, forbidden fantasies, and gender expressions, becoming instrumental in the formation of their queer identities in a way that metatextually reflects the role LGBTIQ+ shows play for their audiences. Such is the case of Adam, a bisexual teenager that masturbates to the image of a fictional actor featured in a 1980s action film poster; Lily, whose sexual fantasies of role playing with alien creatures are strongly influenced by spatial sci-fi; and Ola, whose onyric universe is influenced by David Bowie’s genderbending aesthetics. However, the most representative example of how popular culture influences the formation of queer identities is Eric, whose non-conforming gender expression follows the example set by the trans characters in <em>Hedwig and the Angry Inch</em>.

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12

Heim, Julia. "Italian LGBTQ representation in transnational television." Journal of Italian Cinema & Media Studies 8, no. 2 (March 1, 2020): 189–203. http://dx.doi.org/10.1386/jicms_00016_1.

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Abstract This article analyses the narrative depictions of LGBTQ minorities in contemporary Italian transnational television. To understand the sociocultural repercussions of these representations I first contextualize them by exploring current cultural theories behind trends in production and acquisition practices. I argue that by conforming to 'universalized' format and audience standards individual nations achieve transnational visibility. In turn, this universalization contributes to the transnational validation of the narrative discourses within these television programmes. As such, the depictions of LGBTQ characters on the shows Suburra, Gomorrah, Baby and SKAM Italia legitimize a certain level of sexual and gender variance while simultaneously endorsing acts of discrimination against those within these minority categories.

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13

Vanlee, Florian, Sofie Van Bauwel, and Frederik Dhaenens. "Distinctively queer in the Parish: Performances of distinction and LGBTQ+ representations in Flemish prestige television fiction." European Journal of Cultural Studies 23, no. 4 (February 14, 2019): 548–63. http://dx.doi.org/10.1177/1367549418821844.

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This article troubles the intuitive link between emancipatory portrayals of sexual and gender diversity and ‘quality television’ by focusing on three Flemish ‘prestige’ dramas: Met Man en Macht (VIER, 2013), Bevergem (Canvas, 2015) and Den Elfde Van Den Elfde (één, 2016). Contrary to the United States, Flemish quality television portrays fewer LGBTQ+ characters and narratives than less ‘prestigious’ content. Approached from a Bourdieusian perspective, the cases discussed show that when LGBTQ+ characters are featured in prestigious domestic fiction content, they function as distinctive queers. This article argues that, whereas LGBTQ+ characters in US quality television affirm the socio-cultural disposition of the target audience, Flemish prestige television fiction delegitimizes that of the group from which the imagined audience distinguishes itself. Distinctive queers circulate in a larger cultural repertoire associated with Flemish prestige television fiction, recasting markers of ordinary Flemishness found in domestic content. This repertoire is organized around the motif of the parish, and discursively separates Flanders into two distinct temporal configurations: one decidedly pre-modern and inferior, the other expressively modern and superior. A synecdoche for ‘common Flanders’, the parish constructs the majority of Flemings as culturally coarse, backwards and innately unable to be legitimately modern. As the analysis shows, distinctive queers accentuate the social deficit of mundane communities, and textually perform the distinction of fashionable, socially liberal urban-minded Flemings. In consonance with the hyperbolic representations that recast ‘ordinary Flemish cultural life’ as grotesque and ridiculous, distinctive queers frame LGBTQ+ inclusivity as the prerogative of conspicuously absent urban, socio-culturally progressive Flemings.

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14

Kerrigan, Páraic. "After Marriage: The Assimilation, Representation, and Diversification of LGBTQ Lives on Irish Television." Television & New Media 22, no. 1 (November 30, 2020): 47–64. http://dx.doi.org/10.1177/1527476420976122.

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Since Ireland’s 2015 Marriage Equality referendum, emerging trends, variances and understandings of LGBTQ identities have begun to emerge on Irish television. At the crux of this post-marriage equality queer visibility lies a friction between the assimilation of queerness to an acceptable homonormative alternative to monogamous heteronormativity versus broader representations of indeterminate variety and fluidity. In exploring the dynamic between assimilation and representation, the article makes a two-pronged argument. On the one hand, post-marriage equality television becomes a site of containment, performing a regulatory function configuring queer visibility through a homonormative paradigm, reflecting the mainstreaming evident in the marriage equality campaign. On the other, post-marriage equality Irish television has enabled cultural scripts to emerge pertaining to the challenges still remaining for the gay community in response to more intersectional, complex understandings of diverse LGBTQ experiences.

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15

SYABANA, Rosidin Ali, and Wening UDASMORO. "Un sujet marginal: les communautés LGBTQ assimilées à de boucs émissaires dans le film 120 battements par minute." FRANCISOLA 4, no. 2 (April 29, 2020): 1–9. http://dx.doi.org/10.17509/francisola.v4i2.24201.

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RÉSUMÉ. Cet article porte un regard sur le grand nombre de films allosexuels produits par les pays occidentaux qui donnent une visibilité aux communautés homosexuelles, bisexuelle, transgenre, transsexuelle ou queer (LGBTQ). Cependant, elles restent marginalisées. Considérées comme des parasites qui renversent des valeurs ancestrales conventionnelles, les communautés LGBTQ servent de boucs émissaires pour endosser la responsabilité de la propagation du VIH/SIDA et de cette crise de l'épidémie. Le film 120 Battements par Minute réalisé par Robin Campillo est un film qui traite du rôle et du bouc émissaire incarné par les groupes LGBTQ. Cet article utilise la théorie du bouc émissaire par Girard (1982) en révélant que dans une société, il existe toujours un groupe sacrifié stigmatisé en temps de crise. Cet article utilise l'analyse du discours multimodal de Gunther Kress et Theo Van Leewuen (2004) pour analyser des extraits du film. La conclusion montre que le système de bouc émissaire utilise des stéréotypes et des préjugés en identifiant un groupe qui est proche de la crise pour ensuite le nommer en tant que victime. Puisque les premiers cas détectés de patients infectés par VIH/SIDA sont issus de communautés LGBTQ, elles sont donc considérées comme responsables de la crise. Mots-clés : analyse du discours multimodal, bouc émissaire, film allosexuel, VIH/SIDA. ABSTRACT. This article explores how LGBTQ people in the West use film as a space for narrating themselves. LGBTQ people remain marginalized, being stigmatized as parasites who disrupt the established socio-cultural order and blamed for HIV/AIDS pandemic. Robin Campillo's film 120 Battements par Minute (120 Beats per Minute) deals specifically with how the LGBTQ community has been scapegoated. Girard argues that, when a crisis occurs, a social group must be sacrificed during a crisis occurs in order to resolve it. For its analysis, this article applies the multimodal discourse approach proposed by Gunther Kress and Theo Van Leewuen to images and still frames from the film, finding that the LGBTQ community has been scapegoated through stereotypes and prejudices. As they have been popularly identified with the HIV/AIDS crisis, members of the LGBTQ community have been blamed—and expected to take responsibility—for it. Keywords: Multimodal Discourse analysis, scapegoat, LGBT film, HIV/AIDS.

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Shirobokov, A. N. "DOCUMENTARY TELEVISION FILM." RUDN Journal of Studies in Literature and Journalism 22, no. 2 (2017): 361–67. http://dx.doi.org/10.22363/2312-9220-2017-22-2-361-367.

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17

Ezeh Aruah, Diane Chidimma. "Sexual Health on Television." Journal of Public Interest Communications 5, no. 2 (December 29, 2021): 48. http://dx.doi.org/10.32473/jpic.v5.i2.p48.

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Television drama series have the potential to create awareness about sexual health problems and solutions. This study deployed a qualitative analysis of framing to understand how the Netflix show Sex Education framed sexual health concerns. Findings indicate that some sexual health concerns were depicted in the context of teaching sexual responsibility and destigmatizing processes such as seeking information or coming out as LGBTQ+. The show also portrayed the negative consequences of sexual violence and how people might choose to seek help related to sexual trauma. Overall, this study discusses how Sex Education frames sexual health issues in both expected and novel ways compared to those previously explored in public interest communications research.

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18

Yaron Peleg. "Israeli Film and Television." Jewish Film & New Media 3, no. 1 (2015): 1. http://dx.doi.org/10.13110/jewifilmnewmedi.3.1.0001.

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19

Thompson, Philippa. "Using film and television." Practical Pre-School 2004, no. 46 (July 2004): 19–20. http://dx.doi.org/10.12968/prps.2004.1.46.39999.

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20

Featherstone, Lisa, and Nonie Sharp. "Film and Television Reviews." History Australia 10, no. 1 (January 2013): 212–16. http://dx.doi.org/10.1080/14490854.2013.11668454.

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21

Uricchio, William. "Film, cinema, television … media?" New Review of Film and Television Studies 12, no. 3 (June 24, 2014): 266–79. http://dx.doi.org/10.1080/17400309.2014.926656.

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22

Given, Jock. "Researching Film & Television." Media Information Australia 73, no. 1 (August 1994): 11–15. http://dx.doi.org/10.1177/1329878x9407300105.

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23

Hou, Xinyan. "Research on the Conception of Auditory Creation of Film and Television Directors." Arts Studies and Criticism 3, no. 5 (November 16, 2022): 324. http://dx.doi.org/10.32629/asc.v3i5.1066.

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In the process of film and television director's creation, a very important work is audio-visual conversion, but there are few relevant materials about the director's auditory creation idea. For novice film and television directors, auditory design is abstract at the beginning, and they cannot grasp what is the key point. Film and television director is the core character in film and television creation,who is also the responsible person in film and television work quality control. The quality of a work of art is closely related to the script. From the aspect of film and television creation, the level of audio-visual creation, the skill of visual creation and the ability of director artistic creation are closely and directly related. Under normal circumstances, the director will do two things strictly during the creation of film and television works. First, the film and television structure should be reasonably planned. Second, the hierarchical composition of film and television creation elements should be strictly controlled. The process of film and television creation means to choose the structure of film and television works, and strive to be real in the process of selection, from a small shot to the whole film, so as to form an organic whole. When selecting materials, film and television directors also need to make special treatment on the basis of film and television creation effects, and make use of different elements to form different film and television levels and film and television structures, so as to provide conditions for achieving the expected artistic effects.

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24

Li, Xiaoxu. "The Practical Application of Film and Television Packaging Art in Television News Programs." Communications in Humanities Research 24, no. 1 (January 3, 2024): 270–75. http://dx.doi.org/10.54254/2753-7064/24/20231794.

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Film and television packaging art plays a crucial role in television news programs. By employing film and television packaging, television news programs can achieve more sophisticated production and higher levels of visual effects, thereby enhancing the program's visibility and appeal and strengthening its communication effectiveness. The application of film and television packaging art is wide-ranging, including aspects such as title design, image and visual effects, sound design, and color and style. Successful television news programs often leverage the advantages of film and television packaging art to garner audience recognition and attention. With the continuous innovation and development of film and television packaging technology, the film and television packaging of television news programs in the future will have more possibilities, bringing viewers more rich, vivid, and immersive visuals.

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25

Habibah, Yasmin Nur, Januar Aditya Pratama, and Mesagus Muhammad Iqbal. "Globalisasi dan Penerimaan LGBTQ+ di ASEAN: Studi Kasus Budaya Boys’ Love di Thailand." Jurnal Sentris 2, no. 1 (May 7, 2021): 87–103. http://dx.doi.org/10.26593/sentris.v2i1.4615.87-103.

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ABSTRAK Dorongan global terkait LGBTQ+ masih menghadapi banyak tantangan, terutama di kawasan-kawasan timur, tak terkecuali di Asia Tenggara. Kebanyakan hukum nasional mengidentifikasi penganut LGBTQ+ sebagai gangguan kejiwaan yang pantas diberi hukuman-hukuman tertentu. Fenomena ini tentu berdampak pada bagaimana masyarakat menerima kaum ini secara sosial. Menurut penelitian yang dilakukan Pew Research Center, penerimaan publik terkait gerakan LGBTQ+ telah meningkat sejak tahun 2002, bahkan di negara-negara yang dapat disebut cukup konservatif, tak terkecuali Thailand. Budaya yang menjadi aset industri, yaitu ladyboy atau wanita-pria (waria), pun menjadi indikasi penerimaan Thailand terhadap gerakan LGBTQ+. Kini, sejak tahun 2018, industri perfilman Thailand bertemakan Boys’ Love (BL) mendapatkan banyak dukungan dari para pencinta film dan drama, khususnya di negara-negara ASEAN. Dalam tulisan ini, akan dibahas mengenai perkembangan budaya BL di Thailand, yang kemudian berpotensi memunculkan dampak terhadap penerimaan publik negara-negara anggota ASEAN terkait isu LGBTQ+. Berdasarkan teori queer, budaya BL—yang kerap dipandang sebagai dampak globalisasi sosial-budaya—dapat menjadi kekuatan yang “memicu” fluiditas masyarakat dalam hal seksualitas, bahkan dalam lingkungan kultural Asia Tenggara yang dikenal konservatif. Kata Kunci: ASEAN; boys’ love; globalisasi; Thailand; queer ABSTRACT The global push related to LGBTQ+ still faces many challenges, especially in eastern regions, and Southeast Asia is no exception. Most national laws identify LGBTQ + people with a psychiatric disorder who deserve certain punishments. Such a phenomenon certainly has an impact on how society accepts these people socially. According to research conducted by the Pew Research Center, public acceptance of the LGBTQ+ movement has increased since 2002, even in countries that can be described as quite conservative, Thailand is no exception. The culture which becomes an industrial asset, namely ladyboys or women-men, is also an indication of Thailand's acceptance of the LGBTQ+ movement. Since 2018, the Thai film industry with the theme Boys' Love (BL) has received a lot of support from film and drama lovers, especially in ASEAN countries. In this paper, we will discuss the development of BL culture in Thailand, which then has the potential to have an impact on public acceptance of ASEAN member countries regarding LGBTQ + issues. Based on the queer theory, BL culture - which is often seen as the impact of socio-cultural globalization - can be a force that "triggers" the fluidity of society in terms of sexuality, even in a cultural environment in Southeast Asia which is known to be conservative. Keywords: ASEAN; boys’ love; globalization; Thailand; queer

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26

Chadha, Siddharth. "LGBTQ Film Festivals: Curating Queerness by Antoine Damiens." JCMS: Journal of Cinema and Media Studies 62, no. 1 (September 2022): 210–13. http://dx.doi.org/10.1353/cj.2022.0056.

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27

Chu, Yingying. "Construction of AR and VR Children's Film and Television Education Curriculum System Based on 5G." Lecture Notes in Education Psychology and Public Media 20, no. 1 (October 26, 2023): 37–46. http://dx.doi.org/10.54254/2753-7048/20/20231470.

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Film and television (including digital media art) will be explicitly included in the Chinese Compulsory Education Curriculum Plan and Curriculum Standards in 2022, according to the Chinas Ministry of Education. With the advancement of science and technology, significant changes in film and television production and communication have occurred.5G, AR, and VR technologies are reshaping film and television language expression techniques, presentation forms, and viewing methods. As a result, it is necessary to combine the current development trend of film and television technology, comprehend the science and technology of film and television, master the new expression of film and television language, cultivate children's media literacy as the goal, and build the curriculum system of contemporary children's film and television education, in order to promote the implementation of the curriculum plan and curriculum standards of film and television education.

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Song, Lu, Xiujiang Pan, and Peiran Fan. "The Practice of Virtual Reality Technology in the Teaching of Film and Television Art." Journal of Education and Educational Research 5, no. 3 (October 1, 2023): 220–26. http://dx.doi.org/10.54097/jeer.v5i3.13724.

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With the progress of science and technology, virtual reality technology has gradually been integrated into People’s Daily life. As a technology that can provide immersive experience, the application of virtual reality in the field of film and television art has gradually attracted attention. For film and television art colleges, the introduction of this technology has brought revolutionary changes to teaching and creation, and brought new possibilities for teaching and creation. This paper will discuss the application practice of virtual reality technology in film and television art colleges and its influence on film and television art education. This paper first introduces the concept and characteristics of virtual reality technology, and then expounds the practical application of virtual reality technology in the teaching of film and television art universities, including the application of film and television production, film and television theory teaching and distance education. Finally, this paper discusses the effects and challenges of virtual reality technology in the college teaching of film and television art, and prospects the future development trend of film and television art.

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Pereira de Sá, Simone, Juliana Freire Gutmann, and Simone Evangelista. "Musical Performances in Digital Audiovisualities." Journal of Popular Music Studies 35, no. 2 (June 1, 2023): 66–87. http://dx.doi.org/10.1525/jpms.2023.35.2.66.

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This study discusses modes of appropriation of television genres for the constitution of new audiovisual dynamics in a digital context, based on performatic strategies of the Brazilian funk singer Pepita, who is known for her LGBTQ+ activism. Based on a methodology that articulates studies about media genres and performance, we try to understand how television conventions and characteristics of YouTube and Instagram are appropriated for the constitution of what we call performances of empowerment. We conclude that Pepita’s movements exemplify a broader phenomenon, associated to a complex articulation between audiovisual materialities and digital platforms, and to confluences between genre conventions and their transformations.

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Yang, Anbo, Wantong Xie, Shanshan Rao, Yu Li, Yuze Fu, Jiankun Jin, Jingrong Wu, and Nengpeng Fan. "Integration and Industrialization of Film and Television Resources and its Significance for China’s Film and Television Work." Advances in Social Science and Culture 6, no. 4 (July 17, 2024): p46. http://dx.doi.org/10.22158/assc.v6n4p46.

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The abundance of Film and Television resources in China is notable, yet the effective amalgamation and industrialization of these resources hold immense importance for the nation's film and television endeavors. Utilizing the full potential of policy, market, talent, and cultural assets, this research achieves the industrialization of Film and Television resources via a comprehensive amalgamation and integration of various capital, cooperation, and industry sectors. The findings of our study indicate that merging and mechanizing Film and Television resources in the realm of film and TV not only enhances their usage efficiency and financial worth, but also elevates their quality and expressive capacity. Consequently, this approach enables efficient education in Film and Television for the film and television sector in China. The research aids in comprehending the significance of incorporating Film and Television resource industrialization into film and TV projects, and also serves as a valuable methodological guide for diverse film and TV endeavors via these resources.

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Shuster, Martin. "Rewatching, Film, and New Television." Open Philosophy 5, no. 1 (December 14, 2021): 17–30. http://dx.doi.org/10.1515/opphil-2020-0163.

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Abstract Those of us who are captivated by new television (the sort of serialized television that began largely in the early 1990s), often find ourselves rewatching episodes or whole series. Why? What is the philosophical significance of the phenomenon of rewatching? In what follows, I engage with the ontology of television series in order to think about these questions around rewatching. I conclude by reflecting on what the entire discussion might suggest about the medium of new television, about ourselves, and also about our world and the possibilities of art in it.

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Partello, Peggie. "Film and Television Literature Index." Charleston Advisor 12, no. 1 (July 1, 2010): 17–19. http://dx.doi.org/10.5260/chara.12.1.17.

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Tracy, Tony. "Irish Film and Television -2006-." Estudios Irlandeses, no. 2 (March 15, 2007): 251–86. http://dx.doi.org/10.24162/ei2007-2740.

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Tracy, Tony. "Irish Film and Television -2007-." Estudios Irlandeses, no. 3 (March 15, 2008): 213–62. http://dx.doi.org/10.24162/ei2008-3105.

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Tracy, Tony. "Irish Film and Television – 2009." Estudios Irlandeses, no. 5 (March 15, 2010): 203–55. http://dx.doi.org/10.24162/ei2010-2486.

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Tracy, Tony. "Irish Film and Television – 2010." Estudios Irlandeses, no. 6 (March 15, 2011): 191–224. http://dx.doi.org/10.24162/ei2011-2119.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television -2012-." Estudios Irlandeses, no. 8 (March 15, 2013): 195–231. http://dx.doi.org/10.24162/ei2012-1393.

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Tracy, Tony, and Roddy Flynn. "Irish Film and Television – 2011." Estudios Irlandeses, no. 7 (March 15, 2012): 201–33. http://dx.doi.org/10.24162/ei2012-1988.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television -2012-." Estudios Irlandeses, no. 8 (March 15, 2013): 195–231. http://dx.doi.org/10.24162/ei2013-1393.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television -2013-." Estudios Irlandeses, no. 9 (March 15, 2014): 208–37. http://dx.doi.org/10.24162/ei2014-4739.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2014." Estudios Irlandeses, no. 10 (March 15, 2015): 190–235. http://dx.doi.org/10.24162/ei2015-5161.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2015." Estudios Irlandeses, no. 11 (March 15, 2016): 275–320. http://dx.doi.org/10.24162/ei2015-6302.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2015." Estudios Irlandeses, no. 11 (March 15, 2016): 275–320. http://dx.doi.org/10.24162/ei2016-6302.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2016." Estudios Irlandeses, no. 12 (March 15, 2017): 252–79. http://dx.doi.org/10.24162/ei2017-7365.

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Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2018." Estudios Irlandeses, no. 14 (March 16, 2019): 294–327. http://dx.doi.org/10.24162/ei2019-9023.

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Tracy, Tony, and Roddy Flynn. "IRISH FILM AND TELEVISION – 2019." Estudios Irlandeses, no. 15 (March 17, 2020): 296–329. http://dx.doi.org/10.24162/ei2020-9568.

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Flynn, Roddy. "IRISH FILM AND TELEVISION – 2021." Estudios Irlandeses, no. 17 (March 17, 2022): 284–320. http://dx.doi.org/10.24162/ei2022-11036.

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McBride, Stephanie. "Film & Television: TV Dinners." Circa, no. 65 (1993): 7. http://dx.doi.org/10.2307/25557813.

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McBride, Stephanie. "Film & Television: Surface Tension." Circa, no. 80 (1997): 7. http://dx.doi.org/10.2307/25563128.

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McBride, Stephanie. "Film & Television: Promotional Representation." Circa, no. 82 (1997): 7. http://dx.doi.org/10.2307/25563202.

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