Academic literature on the topic 'School of Film and Television History'
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Journal articles on the topic "School of Film and Television History"
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EVALLYO, VIOLETTA D. "All-Russian Scientific Conference From “Spectacle Plays” to Film Comedies: The History of Homo Ridens." Art and Science of Television 18, no. 2 (2022): 217–32. http://dx.doi.org/10.30628/1994-9529-2022-18.2-217-232.
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The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects.
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Gao, Xiang. "‘Be a real man for our motherland’: Masculinity and national security in Chinese Korean War films." Film, Fashion & Consumption 11, no. 2 (November 1, 2022): 121–37. http://dx.doi.org/10.1386/ffc_00043_1.
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There has been increasing societal discussion and criticism on the ‘lack of masculinity’ among Chinese young men. In response, the Chinese Ministry of Education in 2021 advised schools to ‘foster the students’ masculinity’. The Chinese National Radio and Television Administration also set strict rules for casting and choosing performing styles, custom and makeup in order to eliminate the ‘abnormal aesthetic’ and the ‘male feminization’ in Chinese television, film and advertisement. At the same time, various war films and television shows present characters and circumstances that highlight an ‘ideal’ masculine archetypes as well as the quality of a Chinese male character – patriotism, heroism, selflessness, strength, loyalty and intelligence. This article examines and compares the male images in two Chinese Korean War films, Shangganling and Changjinhu. It analyses the changing portrayal of male war characters based on three levels of analysis, namely nationhood, leadership and individuals. This study argues that the ‘masculinity crisis’ has led to the securitization of Chinese masculinity, a process and outcome driven by the Chinese government’s continued efforts to control and channel the broad social and cultural changes which have impacted popular culture, sexuality, gender and women’s rights and roles across Chinese society over the past several decades.
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Bradlow, Ann, Jennifer Cole, and Matthew Goldrick. "Graduate studies in acoustics at Northwestern University." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A122. http://dx.doi.org/10.1121/10.0015751.
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Northwestern University has a vibrant and interdisciplinary community of acousticians. Of the 13 ASA technical areas, 3 have strong representation at Northwestern: Speech Communication, Psychological and Physiological Acoustics, and Musical Acoustics. Sound-related work is conducted across a wide range of departments including Linguistics (in the Weinberg College of Arts and Sciences), Communication Sciences & Disorders, and Radio/Television/Film (both in the School of Communication), Electrical Engineering & Computer Science (in the McCormick School of Engineering), Music Theory & Cognition (in the Bienen School of Music), and Otolaryngology (in the Feinberg School of Medicine). In addition, The Knowles Hearing Center involves researchers and labs across the university dedicated to the prevention, diagnosis and treatment of hearing disorders. Acoustics research topics across the university include speech perception and production across the lifespan and across languages, dialects and socio-indexical properties of speech; sound art and design; social and cultural history of the sonic world; machine processing of music; musical communication; auditory perceptual learning; auditory aspects of conditions such as concussion, HIV, and autism; neurophysiology of hearing; and the cellular, molecular, and genetic bases of hearing function. We invite you to visit our poster to learn more about the “sonic boom” at Northwestern University!
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Gates, Racquel. "The Last Shall Be First: Aesthetics and Politics in Black Film and Media." Film Quarterly 71, no. 2 (2017): 38–45. http://dx.doi.org/10.1525/fq.2017.71.2.38.
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There has been a shift away from formal and textual analysis in the field of film and media studies. These methodologies are seen as passé, “old school,” or even overly simplistic (and no doubt some of this work may warrant these critiques). Yet, I suspect that, as with the celebration of style in Moonlight (Barry Jenkins, 2016), here, too, other politics are at play. In some ways, to reject formal analysis is to subconsciously reject the earlier era of film studies that treated the study of black film (and eventually television) as marginal or inconsequential. In other ways, this move away from formal analysis is also an acknowledgement of the incredibly rich and multifaceted terrain that black representations cover: the critical study of industrial practices, labor, and global strategies—to list some of the most popular topics in the field right now—are all essential to any understanding of the complicated subject of black film and media. Questions of style, though, cannot be separated from questions of politics. Aesthetics bear the indelible imprint of racial ideologies. This is tricky territory, then, and requires scholars to tread carefully. The celebration of certain “beautiful” aesthetics can serve to reinforce an established taste politics that has traditionally dictated an aesthetic marginalization and degradation for people of color throughout the history of the medium. I intend these questions as provocations rather than condemnations. I am not suggesting that high-quality images are simply indicators of whiteness or that low-quality ones are inherently more authentic for representing blackness. On the contrary, I am fascinated by the power that style holds, especially as it pertains to the black image, and how the implementation of that style can form a powerful critique of the film and television industries' longtime racism. At the same time, I want a more rigorous, thoughtful, critical interrogation of how these images come to be, what they signify, and how they train viewers to read race in ways that extend beyond narrative. In proposing an emphasis on aesthetic and formal analysis, I am suggesting, not a “return” to traditional film studies approaches, but instead, a study of black images that was never “there” in the first place.
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Šein, Hagi. "Filmipildi märksõnastamisest Eesti filmi andmebaasis. Rahvusfilmograafias / Meta-Description of Films in Estonian Film Database. National Filmography." Baltic Screen Media Review 1, no. 1 (October 1, 2013): 102–25. http://dx.doi.org/10.1515/bsmr-2015-0007.
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Summary 2012 was the year of film in Estonia, when the 100th anniversary of Estonian film was celebrated. One of the most significant undertakings planned for this occasion was the creation of the Estonian film database (electronic national filmography). Performing this large-scale task was undertaken by the NPO Estonian Film Database, launched in 2007. The main objective of the undertaking was to form a complete Estonian national filmography within ten years (2007-2018) and make it available in a web environment to everyone interested, both in Estonia and abroad. The access to the database was opened in late fall, 2012 (www.efis.ee). Together with newsreels, the number of produced items reaches over 12 000. Feature films, documentaries and popular films, anima, television, educational programmes, advertising films and newsreels form a rich collection of the life, history, culture and people of Estonia. Nearly 3 000 filmmakers and most Estonian actors and actresses have participated in creating the Estonian film heritage. Several thousand people, events, places, buildings, offices and institutions in Estonia participate in or are mentioned in the films. In addition, the films are adressing several thousand people shown or talking in films. The electronic database opens the film treasury in a summarised way, employing a variety of possibilities offered by modern electronic databases. A metadata system and coding instructions were prepared for each film, person and institution in the extensive space of attributes with search options, which combines the interactive features of a film directory and bibliographical, biographical databases. Each film is described as thoroughly as possible. The attributes of films contain data about the subject, genre, authors, cast, production team, locations, producers, copyrights and distributors of films and about the technical parameters of films, as well as the bibliography of films, references to the reviews, articles, books published about films and the makers of films, digitised frames and pictures from films, trailers and promotional clips, scripts, memories of the makers and other interesting details. The subject content of films is indexed in 12 categories and related sub-groups and enables the search of films by plot/subject content, physical items, themes of newsreels and feature films, people, time, events, locations, building sites and institutions. In addition, films are indexed by a film-adapted UDC. As a result, more than 50 000 keywords enable thorough multi-layered content and subject search. All filmmakers are given their personal websites, which provides an overview of their creative careers and filmographies. The electronic film database is interfaced with other similar databases at the Estonian Public Broadcasting, film archive of the National Archives, National Library and the Baltic Film and Media School of the Tallinn University. The web interface offers the possibility to enter with an ID-card and allows advance into several digital storages, where it is possible to view the films produced and purchase them for streaming. The filmography is interfaced with social networks (Facebook, Twitter) and is aiming the possibility to interlink it with the European Film Gateway in the future, thus offering access to a digitised film treasury through Europeana. The database is aimed at film professionals, teachers, students, researchers and the general public as the target audience. Among others, the key issues of cultural databases draw on the approaches and solutions for information retrieval and are relying in particular on the principles of conceptual (intellectual) subject indexing of audiovisual artefacts. Inspired by classical works of Panofsky, Shatford, Turner and others regarding image description, analysis and interpretation the article covers some main issues regarding options for a multifunctional film indexing metadata. The text tackles different aspects of the description of moving images for public needs in general and also describes the specific details of the system, developed for deep keywording of Estonian films. The rationale, limits and disputable issues as well as our experience and basic suggestions for professional indexers who are undertaking these kind of tasks are also revealed.
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Konson, Grigoriy R. "Art History in the Context of Other Sciences: Challenges of Modernity." Observatory of Culture 16, no. 4 (September 13, 2019): 418–33. http://dx.doi.org/10.25281/2072-3156-2019-16-4-418-433.
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The interview reveals modern art history’s main trends identified within the framework of the conference “Art History in the Context of Other Sciences in the Modern World. Parallels and Interactions”. The Russian State Library and the scientific journal “Observatory of Culture” were partners in organizing the conference in 2019. The method of academic interviewing used in this publication provides an opportunity to reveal the personal vision of the conference project’s author and co-chairman of the Organizing Committee, chairman of the Program Committee, head of the Department of Humanities and Social Sciences of the Institute of Contemporary Art, chief researcher of the GITR Film & Television School, expert of the Times Higher Education World University Rankings, member of the Russian Expert Council (ASEP/Scopus), D.Sc. (Art History), professor Grigoriy R. Konson. In fact, the interview is a quintessence of the author’s policy document on the development of culture, science and education in modern society.The academic forum was a socially significant event of international scale, characterized by the latest scientific and educational trends in Russia and foreign countries, as well as by art studies integration into the context of interdisciplinary research located at the intersection of art history, philology, linguistics, philosophy, cultural studies and psychology. As a result, there are prospects for reaching the level of cross-sectoral conceptualization of research generalizations. The interview reveals the topical issues of science functioning in the modern international society. There is concluded that the scientific integration characterizing the conference “Art History in the Context of Other Sciences in the Modern World. Parallels and Interactions” is a progressive method in understanding the essence of art, permeated by multi-vector trends in the global humanitarian process. Therefore, the joint efforts of scientists here contribute to the development of an antidote to destructive trends in the socio-cultural life of modern society.
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Šarić, Tatjana. "To be or not to be in culture." Review of Croatian history 15, no. 1 (December 20, 2019): 81–105. http://dx.doi.org/10.22586/review.v15i1.9742.
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The League of Communists of Croatia (LCC) Central Committee (CC) Ideological Commission as its task force, was one of the most important creators of cultural policy in the People's Republic of Croatia (PRC) / Socialist Republic of Croatia (SRC). Established in 1956 after 1952 dismantled Agitation and Propaganda Commissions, the Ideological Commission inherited part of the jurisdiction of former Agitprop, but it also took over those of the LCC CC Personnel Commissions, particularly with regard to political schools and membership education. The most important activity of this commission was to monitor and analyze the phenomenon of overall cultural, educational and scientific activity in Croatia, and suggesting to the LCC CC to take positions towards them, according to the given ideological current. This has become the decisive factor in cultural policy without whose approval or recommendation projects could not be realized. This paper will therefore concentrate precisely on this activity of the Ideological Commission and give a brief overview of its activity in the supervision of various forms of cultural activity - art, literature, film and media - press, radio and television, while its work in education and science, because of the broadness of the topic, in this case, will be left out. The Commission's activities surveyed in this paper are limited by the period between 1956 (its founding) and 1965 (the 5th LCC CC Congress) when the Commission was organizationally restructured and divided into several areas.
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DUKOV, YEVGENY V., and VIOLETTA D. EVALLYO. "ARTS AND MACHINE CIVILIZATION INTERNATIONAL SCIENTIFIC CONFERENCE." ART AND SCIENCE OF TELEVISION 17, no. 2 (2021): 11–32. http://dx.doi.org/10.30628/1994-9529-2021-17.2-11-32.
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The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and the Saint Petersburg State University. SIAS has been hosting conferences on contemporary culture, screen art and television for 17 years. This year, for the first time in the history of such forums, the researchers were tasked with analyzing the new things that machines have brought to the arts and, in general, to human life. The conference took its special place among the forums held over the past year in Russia and abroad in the following areas: artificial intelligence (Artificial Intelligence Journey, Moscow,Russia); machine learning (International Conferenceon Machine Learning, Vienna, Austria; 3rd International Conference on Machine Learning and Machine Intelligence, Hangzhou, China); civilization of knowledge (Civilization of Knowledge: Russian Realities, Moscow, Russia), etc. The novelty of the conference lies in the unification of the seemingly incompatible phenomena: art and machine civilization. As is commonly known, art was traditionally opposed to technology as something alien, sometimes hostile, although the both were born in human mind and created by human hands. Until now, the expression “machine civilization” in art has been used mainly in the genre of fantasy and with an emphasis on its negative connotations. The purpose of the conference was to comprehend the artistic practices in the era of machine civilization, get acquainted with current hypotheses, publish new facts and discuss modern terminologies (law of spontaneity, law of semantic uncertainty, algorithmic apophenia, post-opera, artificial life and new vitality). Along with the study of new challenges, old issues were raised, which became in demand in the machine civilization: originals and copies of artworks, the boundaries of conventionality and overcoming distrust in new media, narratives and poetics in serious and entertaining screen genres. The conference reports were divided into six blocks: Theoretical Models, ScreenArts—Cinema, Fine Arts, Music, PC Games, and Digitalization.
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Wulandari, Ade, Nani Nurhaeni, Martiningsih Martiningsih, and Ahmad Ahmad. "Preference of Methods and Media for Promotion of Drug Abuse Prevention According to the Point of View of Students and Parents in Bima." Jurnal PROMKES 10, no. 1 (March 23, 2022): 36. http://dx.doi.org/10.20473/jpk.v10.i1.2022.36-47.
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Background: Drug abuse in the Bima region increases from year to year, and it is dominated by students. In 2017 there were 44 cases handled, increased to 79 cases in 2018, and 71 cases in 2019. Bima region as a port city that connects Sumbawa island with a number of large islands in Indonesia has become a risk factor for illicit drug trafficking. Socialization on the dangers of drug abuse that has been carried out in the school environment has a number of limitations, especially in terms of time, methods, and media as well as the number of target audiences that are covered by the activity. It is necessary to develop a method and media approach that is appropriate to the developmental characteristics of adolescents. Objectives: This study aims to obtain an overview of the need for methods and media for the promotion of drug abuse prevention from the point of view of students and parents in Bima. Methods: This research was conducted through a survey method. It was carried out in six Junior High Schools (SMP) in Bima from May to October 2021. Research variables consisted of demographic characteristics; the history of drug and substance use by students; and the need for prevention of drug abuse based on methods, media, locations, frequency, and information providers in Bima. Research data were collected using a questionnaire instrument. Population of this research was students and their parents. The sample size was determined based on the Slovin formula. Data were obtained from 275 students and 70 students' parents. Research data analysis was done with univariate statistics. Results: Students and parents need drug abuse prevention promotion activities that are implemented by health workers either directly or through audiovisual media and social media, such as film screenings on television and gadgets. The promotion is conducted on a scheduled 2-3 times a year. Most of the respondents chose the school and house for the promotion activities. Conclusion: Students and parents had the same interests and opinions about the need for methods and media to promote drug abuse prevention. The results of this research are expected to be a recommendation for the development of a promotion program for the prevention of adolescent drug abuse in Bima.
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Lavrenova, Olga A. "VISUAL IMAGES OF SPACE. REVIEW OF THE GEOGRAPHY OF ART VII INTERNATIONAL CONFERENCE." Art and Science of Television 17, no. 3 (2021): 211–29. http://dx.doi.org/10.30628/1994-9529-17.3-211-229.
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The Geography of Art International Scientific Conference has a long history. Geography of Art began in 1994 and was originally conceived as a purely publishing project. In 2009, the first conference was held under the auspices of the Likhachev Russian Research Institute for Cultural and Natural Heritage and its director Yuri A. Vedenin. The topics at the conferences are traditionally very diverse, but the “protagonist” of all discussions, debates, and subsequent collections is invariably space, in all its guises, and its interaction with culture. The original subjects such as the geography of art schools and traditions and the placement of artifacts on the earth’s surface have over time been supplemented by conceptual questions of the construction of spatial images in painting, literature, and cinema. Over the past few years, the conference has been organized by the Institute of Scientific Information on Social Sciences of RAS, the Russian Academy of Arts, GITR Film and Television School, and the Russian State University for the Humanities. In 2021, for the first time, the conference was arranged in a hybrid format: some sessions were held in person at the Russian Academy of Arts and GITR, while some discussions were convened online. This made it possible to significantly expand the geography of our participants. An important topic was brought up—the possibility of generating images of space and transforming the spatial picture of the world by different types of art, including screen art, creating new meanings of places and regions. A separate section was devoted to the concepts of space and the corresponding images in digital media, cinematography and photography. The section discussed the peculiarities of national cinematography from the point of view of forming the country’s image, which can play a significant role in intercultural communication, and regional images created with the help of photography and IT-technology as an attractor in the formation of recreational flows. Among other things, the conference covered the specifics of space perception in the era of digitalization, the creation of representations, and spectacularity. A separate topic was the construction of narrative topoi within the framework of different versions of screen adaptations of the same work. All discussions complemented each other in creating a three-dimensional picture of spatial images by means of digital and screen arts, generating a modified reality supplemented by photo and film visualizations.
Dissertations / Theses on the topic "School of Film and Television History"
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
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Gaal-Holmes, Patricia. "Decade of diversity : a history of 1970s British experimental film." Thesis, University of Portsmouth, 2011. https://researchportal.port.ac.uk/portal/en/theses/decade-of-diversity(5130421f-c0de-4588-9aa1-d8232a9113a8).html.
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This thesis sets out to demonstrate the diversity in 1970s British experimental filmmaking, and acts as a form of historical reclamation. The intention is to integrate films that have not received adequate recognition into the field alongside those that stand as accepted texts. In accounts of the decade structural and material film experimentation, taking place predominantly at the London Filmmakers’ Co-operative (LFMC), has tended to dominate the histories, at the expense of overshadowing more personal, expressive and representational forms of filmmaking. This thesis therefore seeks to redress the balance by demonstrating that 1970s filmmaking was far more complex and diverse than has previously been acknowledged. It importantly also challenges the belief that more expressive, personal forms of filmmaking returned at the end of the decade, to argue that these were in existence throughout the decade. Evidence of diversity is provided through the range of approaches to filmmaking and individual films discussed. Written evidence of the ‘return to image’ thesis is also provided, demonstrating how this has problematically perpetuated a flawed account of the decade. Relationships to the visual arts are closely considered as experimental filmmaking essentially emerged from this field, as opposed to the dominant, commercial cinema. Filmmaking is, however, also considered within the wider contexts of independent film production, particularly where intersections occurred with institutional or organisational frameworks. Theoretical, socio-political and cultural influences informing filmmaking have also been deliberated, as these significantly informed filmmaking. The framing of 1970s experimental (and independent) filmmaking within Marxist discourses has also been recognised as potentially supporting the problematic ‘return to image’ thesis, particularly as collectivist Marxist ideologies potentially militated against more personal, individual and expressive forms of filmmaking. The first half of the thesis (Chapters One to Three) considers the institutional frameworks and organisational strategies informing and shaping filmmaking. This includes a focus on education, funding and film exhibition; as well as the efforts made by individuals and groups to ensure that experimental filmmaking received the recognition it required to develop and flourish. In the second half of the thesis (Chapters Four to Seven) more detailed studies of the films are made in relation to relevant theoretical or socio-political discourses contextualising filmmaking. These include discourses in the visual arts; countercultural influences and more personal expressive approaches to filmmaking; theoretical discourses related to experimentation with structure and material and feminist discourses related to women’s filmmaking. A range of methodological approaches has been used to uncover the diversity in filmmaking. The film texts themselves have provided the most singular evidence for proof of diversity. Both primary and secondary written texts have been consulted in order to facilitate an understanding of the films and recognise the theoretical and socio-political contexts informing filmmaking and to comprehend the complex nature of the field. The intention throughout has been to provide an understanding of this diverse, vibrant and rich history.
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Westwell, Guy. "History-in-images/images in history : American cultural memory and film representations of the Vietnam War." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340278.
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This thesis charts points of convergence between the fields of historical studies and film studies that generate a line of inquiry which questions how the development and dissemination of film and television have significantly shaped historical conscIOusness. Taking this line of inquiry as a starting point, this thesis identifies the ways in which film (and television) representations have informed American cultural memory of the Vietnam War. The thesis describes how the reporting of the war in newspapers and on television results in the production of a number of vivid and powerful 'nodal images'; these images enable their viewers to locate themselves in relation to the larger event and offer guidance regarding how other representations produced in response to the war might be understood. The thesis goes on to explore how these images play a significant. role in secondary film and television representations, including Hollywood feature films, whereby the initial connotations of the image are recirculated, reenacted and re-scripted. The thesis also indicates how other film representation of the war - such as the film records produced by the American military for tactical and strategic purposes and amateur film produced by American military personnel- are side-lined by the dominance of these nodal images. This study closes by proposing a taxonomy of the key features of these film (and television) representations and profiles the ways in which these features determi~e American cultural memory of the war and mediate historical experience more generally. The conclusion arrived at is that the historical consciousness engendered by these representations encourages the meaning of the Vietnam War to be located in relation to individual phenomenological experience and that the priVileging of this experience above all others marginalises the wider frames of reference - politics, history, economics and so on - which might make that experience meaningful.
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Franklin, Ieuan. "Folkways and airwaves : oral history, community and vernacular radio." Thesis, Bournemouth University, 2009. http://eprints.bournemouth.ac.uk/15995/.
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This thesis investigates a variety of uses of actuality (recorded speech), oral history and folklore (vernacular culture) in radio broadcasting in Britain and Newfoundland (Canada). The broadcasting of vernacular culture will be shown to foster intimate and interactive relationships between broadcasters and audiences. Using a theoretical framework that draws upon the work of communications theorists Harold Innis and Walter Ong, the thesis will explore the (secondary) orality of radio broadcasting, and will consider instances in which the normative unidirectional structure and 'passive' orality of radio has been (and can be) made reciprocal and active through the participation of listeners. The inclusion of 'lay voices' and 'vernacular input' in radio broadcasting will be charted as a measure of the democratization of radio, and in order to demonstrate radio's role in disseminating oral history, promoting dialogue, and building and binding communities. The thesis will predominantly focus on local and regional forms of radio: the BBC Regions in the post-war era; regional radio programming serving the Canadianprovince ofNewfoundland both pre- and post-Confederation (which took place in 1949); and the community radio sector in the UK during the last five years. A common theme of many of the case studies within the thesis will be the role of citizen participation in challenging, transgressing or eroding editorial control, institutional protocols and the linguistic hegemony of radio production. Conversely, close attention will be given to the ways in which editorial control in radio production has circumscribed the self-definition of participants and communities. These case studies will provide evidence with which to investigate the following research question - is the democratization of radio possible through the incorporation of citizen voices or messages within radio production or programming, or is it only possible through changing the medium itself through citizen participation in democratic structures of production, management and ownership?
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Hackett, Gable. "That 80's Show! - The Politics, Film, and Television of the Reagan Years." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3048.
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The 1980’s were a transformative era for the United States of America. The nation had been through a very tumultuous and difficult period following the Kennedy assassination, the Vietnam War, Watergate Scandal, and recession that had plagued the late 1970’s. The fortieth President of the United States, Ronald Reagan, sought to alter this direction by bringing the United States back into a conservative renaissance. He accomplished this in part by using his history in and knowledge of Hollywood. Films and television shows were used by President Reagan to paint the image he had of a better America. A return to classical, conservative family values, a strong, effective military, and the strong opposition and denunciation of communism all became synonymous with the 1980’s and with Ronald Reagan. He left office as one of the most popular and successful Presidents in the history of the country and cast a shadow upon the American political scene that is still seen today.
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Fain, Rob Jason. "Uncovering local history : 16 mm TV news film remaining in U.S. television stations /." Online version of thesis, 2007. http://hdl.handle.net/1850/5957.
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Thesis (M.S.)--Rochester Institute of Technology, 2007.Typescript. Accompanying CD-ROM contains versions of the thesis in Word document and PDF forms. Includes bibliographical references (leaves 35-42).
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Joseph, Robert Gordon. "Playing the Big Easy: A History of New Orleans in Film and Television." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1522601211962016.
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Hammond, Michael. "The big show : cinema exhibition and reception in Britain in the Great War." Thesis, Southampton Solent University, 2001. http://ssudl.solent.ac.uk/1226/.
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Chris, Cynthia. "Watching wildlife : on the nature genre in film and television, its history and meanings /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2002. http://wwwlib.umi.com/cr/ucsd/fullcit?p3044794.
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Perry, Colin. "Into the mainstream : independent film and video counterpublics and television in Britain, 1974-1990." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/11999/.
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This thesis looks at independent film and video cultures in Britain from the mid 1970s to late 1980s. It examines a period of time in which diverse radical film- and video-makers in Britain contributed towards struggles against capitalism, patriarchy, racism, colonialism and homophobia. New social models of film and video production and exhibition were developed, such as the film collective, and new alliances were built to campaign for changes to social policy and legislature. The study examines this moment in order to clarify the capacity for radical discourse to bring groups together and impact on dominant cultural forms such as television. The thesis explores the interrelation between public debate, institutions and individuals. It uses public sphere theories to examine alternative reading publics, and media such as film, video and television. It argues that independent film and video in Britain at this time, including activist documentary, currents of counter-cinema and avant-garde film, was largely concerned with creating and circulating counterpublic discourses. These counterpublic discourses consolidated and expanded oppositional groups, and set out to change aspects of society as a whole. The thesis gives an account of the diversity of the influences on independent film and video, from socialist and liberation movements, to popular radical histories and psychoanalytic and Marxist film theory. Attention is given to the Independent Filmmakers’ Association as an agent of change between filmmakers and state, notably in terms of national film and broadcasting policy. There is a case study of Marc Karlin’s television film For Memory (1986), which looks at the fate of socialist memory under televisual regimes; and a case study of Stuart Marshall’s Bright Eyes (1984), which looks at issues of sexuality, identity and counter-history during the AIDS crisis. The thesis argues that during this period, independent film- and videomakers helped to transform television into a vital site of counterpublic discourse.
Books on the topic "School of Film and Television History"
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Renegades: Australia's first film school from Swinburne to VCA. Ivanhoe East, Vic: Helicon, 1996.
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AA310 Film and television history. Milton Keynes: Open University, 2002.
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McMahon, Barrie. Real images: Film & television. South Melbourne: Macmillan, 1986.
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Teaching history with film and television. Washington, D.C: American Historical Association, 1987.
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Neale, Stephen. Popular Film and Television Comedy. London: Taylor & Francis Inc, 2002.
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1956-, Krutnik Frank, ed. Popular film and television comedy. London: Routledge, 1990.
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Robyn, Quin, ed. Real images: Film and television. 2nd ed. South Melbourne: Macmillan, 1995.
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1974-, Torr James D., ed. Violence in film and television. San Diego, CA: Greenhaven Press, 2002.
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Vampires in film and television. New York: Rosen Central, 2011.
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Washington, D.C. film and television. Charleston, South Carolina: Arcadia Publishing, 2014.
Find full textBook chapters on the topic "School of Film and Television History"
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Gray, Ann. "History Documentaries for Television." In The Documentary Film Book, 328–36. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_37.
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D'Arcy, Geraint. "Television, History, Realism." In Critical Approaches to TV and Film Set Design, 62–87. London; New York: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781315205939-4.
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Kirby, David A. "Film, Radio, and Television." In A Companion to the History of Science, 428–41. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2016. http://dx.doi.org/10.1002/9781118620762.ch30.
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Fothergill, Robert. "7. Writing for Radio, Television, and Film." In Literary History of Canada, edited by William New, Carl Berger, Alan Cairns, Francess Halpenny, Henry Kreisel, Douglas Lochhead, Philip Stratford, and Clara Thomas, 159–85. Toronto: University of Toronto Press, 1990. http://dx.doi.org/10.3138/9781487589547-009.
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Mitric, Petar. "The European Co-production Treaties: A Short History and a Possible Typology." In European Film and Television Co-production, 63–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97157-5_4.
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Chan, Kenneth. "Melodrama as History and Nostalgia: Reading Hong Kong Director Yonfan’s Prince of Tears." In Melodrama in Contemporary Film and Television, 135–52. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137319852_8.
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Bruzzi, Stella. "Re-enacting Trauma in Film and Television: Restaging History, Revisiting Pain." In Therapy and Emotions in Film and Television, 89–98. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137546821_6.
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Goldsmith, Ben, and Tom O’Regan. "Beyond the Modular Film School: Australian Film and Television Schools and their Digital Transitions." In The Education of the Filmmaker in Europe, Australia, and Asia, 149–69. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137070388_8.
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Nojoumian, Amir Ali. "Constructing Childhood in Modern Iranian Children’s Cinema: A Cultural History." In The Palgrave Handbook of Children's Film and Television, 279–94. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_15.
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Lustyik, Katalin. "The Iron Curtain Opens: The History of Hungarian Children’s Television in Five Acts." In The Palgrave Handbook of Children's Film and Television, 399–414. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-17620-4_22.
Full textConference papers on the topic "School of Film and Television History"
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Popović, Dušanka V. "NOVA ČITANjA JEDNOG LUTKA – PINOKIO U SVJETLU DIGITALNOG DOBA I SAVREMENIH KULTUROLOŠKIH GIBANjA." In KNjIŽEVNOST ZA DECU U NAUCI I NASTAVI. University of Kragujevac, Faculty of Education in Jagodina, 2022. http://dx.doi.org/10.46793/kdnn21.065p.
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: Dynamic global cultural movements, change in needs according to the digital age, and richness of simulacra available through the classical means of the media scene (radio, television, and film) and the internet (social networks, websites, and blogs), are exerting more intense intercultural influences, but also forcing the mutation of people’s value attitudes for the sake of an easy and luxurious life and eternal youth in the promised virtual world, behind whose images, most often, lies nothing more than a naked and not at all beautiful reality. At a time when the antiheroes of the story of Pinocchio are slowly taking the position of heroes, the challenge is to understand this story as a way of preserving universal values and virtues, kind words, love and friendship, and goodness as essential life energy. It is to be done through a medium ‒ book, without the intention of denying to the younger generations what is to them, as digital natives, closer and more necessary than it was to previous generations. Therefore, we examined Collodi’s Pinocchio, a story about a mischievous boy and endless paternal love, written in the 19th century, but quite actual and close to young readers, from several perspectives: reading lists prescribed by school curricula, possibilities of interpreting the story from the point of view of values and virtues, and using different mediatic forms, including the newest one ‒ digital.
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Wolfe, Byron, and Seher Erdoǧan Ford. "How Do We Work? Metacognition in Creative and Collaborative Practices." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.64.
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constitute best practices for initiatingand maintaining sustainable collaborations?These questions arise regularly within the context of our institution, Tyler School of Art and Architecture, which is part of TempleUniversity in Philadelphia, Pennsylvania. The school includes the departments of Architecture and Environmental Design, Art Education and Community Arts Practices, Art History, Studio Art, and Graphic and Interactive Design. It recently updated its structure and adopted a name that captures its breadth of programs to support cross-disciplinary study and reflect current understanding of creative practice and research.One of us being a professor in Studio Art with a background in Photography and the other in Architecture and EnvironmentalDesign, our collective experience and shared interests in interdisciplinary engagements motivated us to design and co-teach a new, graduate-level course focusing on collaboration and the creative process. Following preparations and planning for about a year, we taught the course titled “ Collaboration and Creativity” three times since its first iteration in the fall of 2017. Each semester varied widely in terms of the number of students enrolled, background and expectations both on the part of the students as well as us, as instructors. So far the cohort has included students from architecture, photography, ceramics, glass, painting, printmaking, sculpture and film and media programs.To facilitate research-based collaborative work, we considered place-based topics, allowing for various modes of research, which would generate connections with the local environment. Since students from diverse disciplinary backgrounds and with different skill-sets enroll in the course, we deliberately selected a neutral topic of study, a locally sourced stone, in order to encourage a shared experience of discovery. Taking its name from the creek that defines the northwestern arm of the city of Philadelphia, the Wissahickon schist stone—a metamorphic rock—is widely used in historical construction in the area and well-recognized for its distinct specks of shiny mica and multi-toned layers of gray, blue, brown, and black. We decided to work with this stone as a departure point for diverse lines of inquiry into physical, historical, cultural, and social domains.