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Journal articles on the topic 'School of Film and Television History'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

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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9

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.

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Xie, Lin. "CET Resource Database Construction Model Based on Cloud Computing." Wireless Communications and Mobile Computing 2022 (March 18, 2022): 1–9. http://dx.doi.org/10.1155/2022/4818056.

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Chinese students began learning English during compulsory education, have a long history of English learning, and focus on vocabulary, grammar, and other aspects of the language in middle school. Teaching resources include a variety of teaching conditions, such as materials. In a broad sense, they also include educational policies and other contents. They typically include teaching materials, cases, films and television, pictures, courseware, teacher resources, teaching aids, and infrastructure. In this case, cloud computing provides a good technical platform for solving the problems mentioned above in college English teaching (CET). Cloud computing enables the desktop use of Internet resources while reducing personal computer performance. In this paper, we will create a data resource data bank based on the cloud computing concept, making the most of existing resources, avoiding repeated development, and achieving curriculum content sharing. Reduce the cost of developing online courses, shorten the development cycle, and ensure that they are of high quality. This paper investigates the use of cloud computing to build a CET resource data bank. The cloud computing platform enables multiperson collaboration, document creation, editing, and sharing, all of which are characteristics of constructivism and collaborative learning theory.

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Dahamnuri, Moh, Adian Husaini, and Didin Saefuddin. "Studi Bahan Ajar Tentang Sejarah Islam di Indonesia dalam Buku Ajar Sejarah Nasional Indonesia Tingkat SMA/ MA dalam Perspektif Pendidikan Islam." Ta'dibuna: Jurnal Pendidikan Islam 5, no. 1 (September 8, 2016): 105. http://dx.doi.org/10.32832/tadibuna.v5i1.583.

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The focus of this study is about the materials of History of Islam in Indonesia on Indonesian National History Textbook in the Perspective of Islamic Education. It�s not only knowing of this materials but also can be useful for people who want to master of historical of Islam in Indonesia. In the process of learning the teacher presenting the material, starting with the creation of teaching materials interesting and innovative. Teaching materials have great contribution for the success of the learning process. In this occasion the role of the teacher as a facilitator is very important because it also as a resource in teaching and learning. Learning based on the students-oriented could be possible to learn from a variety of sources of information independently, both of graphic media such as books, magazines, newspapers, newsletters, and others; or on electronic media such as radio, television, film slides, video, computer, or perhaps from the internet. Writing the past of historical of human life is strongly influenced by the ideology of the author, also at the time who was in the power in that country. So that it is presented to be criticize on its truth do not accept what if it were going to leave uncertainty forever. The method is used in this research is descriptive narrative, that research on describing what the data that the author has found from many sources that are the subject of a study of the Qur'an, Hadith, and scholarly opinion which strengthens. While the theory is used in this case is theories have Framing in content analysis. Framing analysis is used to determine how the reality framed by the media. Through analysis of the framing will be known who controls whom, who opposed the who, where friends where the opponent, where the patron and which clien. At the high school level (high school) or Madrasah Aliyah (MA) History teaching aims to encourage pupils can critical thinking, analysis and synthesis. Understanding the past life to be used as the foundation of life of the present and future. Also understand that history is a part of everyday life. The observation of the author after reading the teaching material for the National History Indonesia SMA / MA, there are theories that led to the materialist sourced from Western secular theory. The next presentation of teaching materials national history in SMA / MA when viewed from the perspective of Islamic education efforts are needed to Islamization include Islamization of Sciences, the Islamization of writing and teaching history, because history, as well as other science today predominantly influenced by the theories of secularism which considers a value-free and not nothing to do with religion; especially the Islamic religion that comes from revelation of Allah (Qur'an) and hadiths of The Messenger of Allah SAW. The teachers that administer the National History Lesson is expected to exploit the opportunities available that actively attending activities Subject Teachers Council (MGMP) to formulate, discuss and criticize the teaching materials that have been available in the Handbook both for teachers and for students. Of these activities are expected to grow curiosity continuously so that the teachers are always seeking to prepare themselves before teaching in the classroom. Likewise, students are stimulated to seek his own experiences with the task given of their selves both structured and unstructured task. Hopely the students can take advantage of opportunities for critical thinking in viewing and studying the teaching materials are available that they can eventually finds himself to be used as provision of his life in the future.<p><strong>Keyworld</strong>: teaching material, history of Islam, islamic education</p>

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Gledhill, Christine, Rona Murray, and Emma Sandon. "Doing women’s film and television history: the Women’s Film and Television History Network UK/Ireland." Screen 60, no. 3 (2019): 483–91. http://dx.doi.org/10.1093/screen/hjz024.

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Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.

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The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.

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Rosewarne, Lauren. "School of shock: film, television and anal education." Sex Education 15, no. 5 (April 29, 2015): 553–65. http://dx.doi.org/10.1080/14681811.2015.1023285.

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Briley, Ron. "Sports in Film, Television, and History: Introduction." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 2 (2005): 17–18. http://dx.doi.org/10.1353/flm.2005.0030.

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Knecht, James R. "War in Film, Television, and History: Introduction." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 12–13. http://dx.doi.org/10.1353/flm.2006.0012.

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Taddeo, Julie Anne, and Ken Dvorak. "Introduction: Reality Television as Film and History." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 16–17. http://dx.doi.org/10.1353/flm.2007.0034.

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Wang, Song, Hanwen Zhang, and Xiang Meng. "Design of Video Teaching System Based on Virtual Reality Technology." Electronics Science Technology and Application 7, no. 4 (January 21, 2021): 72. http://dx.doi.org/10.18686/esta.v7i4.167.

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<p>With the progress of the times and the development of network technology, great changes have taken place in the mode of education and teaching, and the traditional mode of education and teaching has been unable to meet the current teaching situation and requirements. Under this background, many scholars have developed a variety of teaching models adapted to the background of the times, which has achieved good results. In order to realize the reform and innovation of teaching mode, this paper designs a film and television teaching system based on virtual reality technology. In the era of Internet of Things and big data, Internet of Things technology is used as support to realize the transmission and sharing of teaching information in film and television teaching system. In the research, data mining technology is used to collect relevant data of teaching resources and teaching information, and relevant algorithms in data mining are used to realize data processing. Experiment of film and television teaching system in different stages of education system and the application of film and television teaching theory courses, experiment courses for students and education development index are analyzed. According to the end of the experiment, the influence of results show that the film and television teaching system in the use of elementary school, junior high school, high school and university level are 25.32%, 31.44%, 18.46% and 47.76% respectively. The film and television teaching system plays a significant role in students’ experimental course scores. The use of the film and television teaching system has raised the development index of education and teaching in each stage of education from 1.12, 1.33, 1.47 and 1.36 to 2.14, 2.21, 2.36 and 2.44 respectively, indicating that the film and television teaching system has a certain promoting effect on the development of education and teaching.</p>

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Murphy, Amanda, Rowan Aust, Vanessa Jackson, and John Ellis. "16mm Film Editing for Television." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 7. http://dx.doi.org/10.18146/2213-0969.2015.jethc077.

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Two television editors who once worked with 16mm film discuss and explore their former working methods and demonstrate how to make a picture cut using film. The method of ‘hands-on history’ used for this simulation is discussed, as are the problems of presenting such data.

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Cao, Luhao. "Research on the Way of "Self rescue" and "Other rescue" of Domestic Film and Television Bases under the COVID-19 Epidemic Situation." Frontiers in Business, Economics and Management 5, no. 3 (October 19, 2022): 333–39. http://dx.doi.org/10.54097/fbem.v5i3.2048.

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In the process of Chinese film and television, Hengdian Film and Television City has created a group of magical data. Under the COVID-19 epidemic situation, the original vibrant film and television industry has entered the winter period, Hengdian Film and Television City is no exception. Under the COVID-19 epidemic situation, where should the domestic film and television bases go? How can the industry recover better? How to build a more perfect industrial chain? These are all urgent problems to be solved under the COVID-19 epidemic situation. This paper will conduct field research and interview to explore the "self rescue" and "other rescue" road of Zhejiang Hengdian Film and Television City under the COVID-19 epidemic situation from the aspects of school-enterprise integration, cultural tourism parallel, industrial thinking, etc., in order to find out the development road of the film and television city.

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Dendramis, Panagiotis. "Managing the Archives of the Hellenic Film and Television School." Cahier Louis-Lumière 9, no. 1 (2015): 38–43. http://dx.doi.org/10.3406/cllum.2015.965.

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Briley, Ron. "American Sport in Film, Television and History: Introduction." Film & History: An Interdisciplinary Journal of Film and Television Studies 35, no. 1 (2005): 10–11. http://dx.doi.org/10.1353/flm.2005.0001.

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Lilley, Rozanna. "Claiming identity: Film and television in Hongkong." History and Anthropology 6, no. 2-3 (January 1993): 261–92. http://dx.doi.org/10.1080/02757206.1993.9960831.

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O’Leary, Alan, and Dana Renga. "Teaching Italian Film and Television and Videographic Criticism." Italianist 40, no. 2 (May 3, 2020): 296–309. http://dx.doi.org/10.1080/02614340.2020.1790276.

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Knecht, James R. "War in Film, Television, and History: The War Continues." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 2 (2006): 14–15. http://dx.doi.org/10.1353/flm.2006.0033.

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Newman, Kathy M. "Movin' On Up: Revising Postwar Film and Television History." American Quarterly 63, no. 2 (2011): 431–39. http://dx.doi.org/10.1353/aq.2011.0018.

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Holtar, Ingrid S., Maria Fosheim Lund, and Johanne Kielland Servoll. "A revelation: Addressing feminist agency in Norwegian film history." Journal of Scandinavian Cinema 12, no. 2 (June 1, 2022): 119–33. http://dx.doi.org/10.1386/jsca_00068_1.

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This article examines how gender balance in the Norwegian film sector has been narrativized, and as such is a historiographical challenge to a tendency to delineate the presence of women film directors at key dates as markers of equality. To suggest alternative trajectories, this article adopts a methodology of constellation, putting into dialogue the little-known women’s film and television network Women’s Film Forum (1982–89) and Women in Film and Television Norway (2005–present) as well as the production practices of director-writers Vibeke Løkkeberg, whose career began in the 1970s, and Itonje Søimer Guttormsen, whose first feature film premiered in 2021. Through these constellations, we explore ways to acknowledge the strategies and agencies of individual filmmakers and grassroots organizations that have addressed gender inequalities in the film and TV sectors for more than four decades and to re-frame the present moment beyond official film policies.

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Calder-Sprackman, Samantha, Stephanie Sutherland, and Asif Doja. "The Portrayal of Tourette Syndrome in Film and Television." Canadian Journal of Neurological Sciences / Journal Canadien des Sciences Neurologiques 41, no. 2 (March 2014): 226–32. http://dx.doi.org/10.1017/s0317167100016620.

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Objective:To determine the representation of Tourette Syndrome (TS) in fictional movies and television programs by investigating recurrent themes and depictions.Background:Television and film can be a source of information and misinformation about medical disorders. Tourette Syndrome has received attention in the popular media, but no studies have been done on the accuracy of the depiction of the disorder.Methods:International internet movie databases were searched using the terms “Tourette’s”, “Tourette’s Syndrome”, and “tics” to generate all movies, shorts, and television programs featuring a character or scene with TS or a person imitating TS. Using a grounded theory approach, we identified the types of characters, tics, and co-morbidities depicted as well as the overall representation of TS.Results:Thirty-seven television programs and films were reviewed dating from 1976 to 2010. Fictional movies and television shows gave overall misrepresentations of TS. Coprolalia was overrepresented as a tic manifestation, characters were depicted having autism spectrum disorder symptoms rather than TS, and physicians were portrayed as unsympathetic and only focusing on medical therapies. School and family relationships were frequently depicted as being negatively impacted by TS, leading to poor quality of life.Conclusions:Film and television are easily accessible resources for patients and the public that may influence their beliefs about TS. Physicians should be aware that TS is often inaccurately represented in television programs and film and acknowledge misrepresentations in order to counsel patients accordingly.

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Hechenblaikner, Verena. "Downton-Mania. Die Fernsehserie „Downton Abbey“ und ihre Auswirkung auf die Public History und den Filmtourismus." historia.scribere, no. 13 (June 22, 2021): 31. http://dx.doi.org/10.15203/historia.scribere.13.615.

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Downton Mania. The Television Series “Downton Abbey” and its Impact on Public History and Film TourismThe following seminar-paper examines the potential of historical television series for historical science. Using the television series "Downton Abbey" as an example, it shows series’ effects on public history and film tourism. The main argument is that historical series increase public interest in history and thus make it possible to communicate historical topics to a broader audience.

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31

Malyshev, Vladimir. "CILECT as the Project of a World Film School: Origins, Specifics, Development." Journal of Flm Arts and Film Studies 11, no. 4 (December 13, 2019): 8–24. http://dx.doi.org/10.17816/vgik1148-24.

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The continuing introduction of digital technologies into the production of meaningful and engaging audiovisual images accentuates the necessity of international cooperation in the sphere of the professional education of those young people who are planning to work in film, television and other screen arts. All over the world film schools are challenged by problems the solution of which requires consolidated participation of worldfamous masters. This has been recently confirmed at the Congress of the International Association of Film and Television Schools (CILECT) Congress held in October 2019 in Moscow in connection with the 100th anniversary of the All-Russian State Institute of Cinematography (VGIK). This essay analyzesVGIK's contribution to the process of perfecting programs in the field of screen arts at different stages of their development. The essay explores issues of CILECT development since its foundation in 1954. Initially, CILECT was supported by nations with developed film cultures, such as Brazil, Chile, Czechoslovakia, France, Italy, Poland, the Soviet Union, Spain, the United Kingdom, and the United States. Today, the Association unites 180 film schools from 65 nations. The essay analyzes VGIK's role in the development of film education and, more generally, the development of screen arts; and emphasizes the importance of international cooperation in this technological, digital age.

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Wildy, Tom. "British television and official film, 1946–1951." Historical Journal of Film, Radio and Television 8, no. 2 (January 1988): 195–202. http://dx.doi.org/10.1080/01439688800260211.

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Whitfield, Stephen J., and Brenda Murphy. "Congressional Theatre: Dramatizing McCarthyism on Stage, Film, and Television." Journal of American History 87, no. 4 (March 2001): 1570. http://dx.doi.org/10.2307/2674878.

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Castro, Juan Carlos. "Structuring Democratic Places of Learning: The Gulf Island Film and Television School." Art Education 63, no. 5 (September 2010): 14–21. http://dx.doi.org/10.1080/00043125.2010.11519083.

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35

Henderson, Amy. "Hollywood's West: The American Frontier in Film, Television, and History." History: Reviews of New Books 34, no. 2 (January 2006): 39–40. http://dx.doi.org/10.1080/03612759.2006.10526771.

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Oxoby, M. C. "Hollywood's West: The American Frontier in Film, Television, and History." Interdisciplinary Studies in Literature and Environment 18, no. 1 (January 1, 2011): 233–34. http://dx.doi.org/10.1093/isle/isq137.

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37

White, Jerry. "Cold War Contexts: Pawlikowski in Film, Television, and European History." Film Quarterly 72, no. 3 (2019): 44–51. http://dx.doi.org/10.1525/fq.2019.72.3.44.

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Jerry White compares Paweł Pawlikowski's new film Zimna wojna (Cold War, 2018) to Karpo Godina's classic Slovenian film Rdeči boogie ali Kaj ti je deklica (Red Boogie, 1982), discussing the narrative and thematic continuities between the two films in the context of Cold War history and cinema. White also explores Pawlikowski's prior incarnation as a British documentary filmmaker named Paul to suggest a curious evolution; that in returning to his native Poland in his most recent films (Cold War and Ida), Pawlikowski has gone astray, abandoning the authenticity of his early British films such as Last Resort for a muddled romantic vision.

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Browne, Ray B. "Hollywood's West: The American Frontier in Film, Television, and History." Journal of American Culture 29, no. 2 (June 2006): 242–43. http://dx.doi.org/10.1111/j.1542-734x.2006.00349.x.

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39

Aaltonen, Jouko, and Jukka Kortti. "From evidence to re-enactment: history, television and documentary film." Journal of Media Practice 16, no. 2 (May 4, 2015): 108–25. http://dx.doi.org/10.1080/14682753.2015.1041804.

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40

Haynes, John Earl. "A Bibliography of Communism, Film, Radio and Television." Film History: An International Journal 16, no. 4 (December 2004): 396–423. http://dx.doi.org/10.2979/fil.2004.16.4.396.

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41

Kelly, Rachael. "WhitherQuo Vadis?Sienkiewicz’s novel in film and television." Historical Journal of Film, Radio and Television 31, no. 1 (March 2011): 81–83. http://dx.doi.org/10.1080/01439685.2011.553407.

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42

Bertrand, Ina. "The forties: sexual politics in film and television." Historical Journal of Film, Radio and Television 12, no. 3 (January 1992): 201. http://dx.doi.org/10.1080/01439689200260131.

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43

Ye, Bai. "Remarkable: The Image of Chinese Americans in Current Film and Television." Chinese Studies in History 41, no. 3 (April 2008): 67–75. http://dx.doi.org/10.2753/csh0009-4633410304.

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44

Guangyao, Zhu, and Wang Yandong. "The Practice and Theory of China's National Image in Hong Kong Region* A Case Study of Film and Television." E3S Web of Conferences 236 (2021): 05058. http://dx.doi.org/10.1051/e3sconf/202123605058.

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Since Hong Kong was once considered to be the front line of the Cold War against China in the Anglo-American world, its film and television productions have been a significant ideological battlefield. Especially at that time, the western digital film and television production had a strong impact on the construction of national ideology in Hong Kong. It is evident that the artistic strategy of China's national image formation in the region, as viewed through film and television productions, has a targeted cultural and strategic orientation value. In this regard, this paper presents the viewpoints from the perspective of the development history of Hong Kong's film and television productions as well as the successful experience of image construction in Europe and America since the mid-twentieth century.

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45

Busby, Mark. "Hollywood's West: The American Frontier in Film, Television, and History (review)." Southwestern Historical Quarterly 110, no. 4 (2007): 569–70. http://dx.doi.org/10.1353/swh.2007.0031.

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46

Fyne, Robert. "Hollywood's West: The American Frontier in Film, Television, & History (review)." Film & History: An Interdisciplinary Journal of Film and Television Studies 36, no. 1 (2006): 76–77. http://dx.doi.org/10.1353/flm.2006.0007.

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47

Barber, Sian. "Discovering film on Irish television: fragments from RTÉ archives 1960–5*." Historical Research 91, no. 254 (October 22, 2018): 791–809. http://dx.doi.org/10.1111/1468-2281.12242.

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Abstract This work explores film and television in Ireland in the early nineteen-sixties. Focusing on national broadcaster Telefís Éireann (RTÉ), it uses archival programme footage and broadcast listings to examine television's relationship with film and cinema. This material, which includes excerpts from arts and culture programmes and interviews with actors, suggests an intersection between film, cinema and television in nineteen-sixties Ireland.

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48

Wille, Jakob Ion. "Shaping Dreams: Design Ideas and Design Fiction in Movie and Television Production Design." Artifact 3, no. 4 (August 24, 2015): 9. http://dx.doi.org/10.14434/artifact.v3i4.12812.

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The aim of this article is to show how the design process influences the planning and development of moving images, i.e., live-action movies, animation, and television. The paper documents the significance of design in the early stages of film and television production and shows how industry practitioners value the contribution of designers in developing the narrative through visual support. The paper suggests a comparison of design and screenplay research and analysis. In addition, it touches on the subject of design fiction in the case of a project involving collaboration of production design students from The Royal Danish Academy of Fine Arts, School of Design, and screenwriting and producer students from The National Film School of Denmark. Finally, this article provides insight into one of the newer trans-disciplinary developments in design, namely the cross-pollination taking place between the fields of design research and film research. As a result, the paper contributes to our understanding of the expanding concept of design.

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Slootweg, Tom, and Susan Aasman. "Democratic Television in The Netherlands." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 21. http://dx.doi.org/10.18146/2213-0969.2015.jethc079.

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For this article, the authors retrieved two curious cases of nonconformist TV from the archives of The Netherlands Institute of Sound and Vision. Being made in the late 1970s and early 1980s, the two cases represent an alternative history of broadcast television in the Netherlands. Whereas Neon (1979-1980) aimed to establish a punk-inspired DIY video culture, Ed van der Elsken (1980, 1981) strived for an expressive amateur film culture. The authors propose to regarded these cases as two different experiments of participation in and through media. By conceptualising amateur film and video as counter-technologies, the discursive expectations around their democratic potential can be explored further.

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Isenberg, Michael T., and John E. O'Connor. "Image as Artifact: The Historical Analysis of Film and Television." American Historical Review 97, no. 2 (April 1992): 630. http://dx.doi.org/10.2307/2165893.

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