Academic literature on the topic 'Television Production and direction United States'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Television Production and direction United States.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Television Production and direction United States"
1
Elsass, H. J., J. Schildkraut, and M. C. Stafford. "Breaking news of social problems: examining media consumption and student beliefs about school shootings." Russian Journal of Economics and Law 16, no. 4 (December 9, 2022): 881–96. http://dx.doi.org/10.21202/2782-2923.2022.4.881-896.
Full textAbstract:
Objective: to explore the relationship between college students’ media consumption and their attitude to school shootings in the United States of America.Methods: dialectical approach to cognition of social phenomena, allowing to analyze them in historical development and functioning in the context of the totality of objective and subjective factors, which predetermined the following research methods: formal-logical, comparative-legal, and sociological.Results: School shootings are considered by many to be a social problem in need of a solution. While episodic in nature, they generate fear and concern, particularly as a result of the amount of attention they garner by and through the media. The present study explores the relationship between college students’ media consumption and their beliefs that school shootings are a problem in the United States. A survey was administered to 442 university students in fall 2012 and included measures of specific modes through which media is consumed, including television, newspaper, and social media, which then were analyzed to assess such a relationship. The results indicate that social media—Twitter 2 in particular—are significant predictors of students’ beliefs about school shootings. These findings also represent an important shift in media production that encourages a more participatory discourse with audience members. Implications for journalistic practices, study limitations, and directions for future research also are discussed.Scientific novelty: The present study sought to examine the impact of media consumption on respondents’ beliefs that school shootings are a problem in the U.S. It was hypothesized that there is a positive relationship between the amount of media that students consume and their belief that school shootings are a problem. It was found that the more students use social media, and Twitter in particular, the stronger their beliefs that school shootings are a social problem. Not all media use, however, was related to these beliefs in accordance with cultivation theory.Practical significance: the main provisions and conclusions of the article can be used in scientific, pedagogical and law enforcement activities when considering the issues related to the crime prevention and suppression.
2
Torre, Paul. "Television formats and the United States: New developments in production and distribution." International Journal of Digital Television 8, no. 1 (March 1, 2017): 117–41. http://dx.doi.org/10.1386/jdtv.8.1.117_1.
Full text
3
Gerbner, George. "Essay Reviews: The Hidden Message in Anti-Violence Public Service Announcements." Harvard Educational Review 65, no. 2 (July 1, 1995): 292–99. http://dx.doi.org/10.17763/haer.65.2.k102244j40633615.
Full textAbstract:
In this essay, George Gerbner reviews eight television public service announcements (PSAs) that deal with urban violence and are produced by the media conglomerate HBO/Time Warner. Gerbner couches his critique of the PSAs in terms of the historical tension between the commercial nature of television in the United States and broadcasters' mandated role to serve the public. In creating a framework to understand the anti-violence PSAs, Gerbner broadens the discussion to include both the media industry in the United States and the demand for violence television programming in the international marketplace. Although he acknowledges the high production value of the PSAs, Gerbner contends that the race, age, and gender of the characters, as well as the situations depicted, constitute a hidden message of stereotyped violence. Gerbner argues that the images portrayed in the PSAs reflect the type of violence that is presented by the television industry itself, not the kinds of violence that may actually exists in the United States.
4
Cummings, Dean. "The impact of multimedia journalism on ageism in television news: Commodification and the anxiety of ageing in the newsroom." Journal of Applied Journalism & Media Studies 00, no. 00 (January 20, 2021): 1–26. http://dx.doi.org/10.1386/ajms_00045_1.
Full textAbstract:
Television news corporations changed their work roles from a tradition of team production to a ‘one-man-band’ method of production. Many veteran reporters are hesitant to accept the new methodology. This study intended to examine how television news reporters adjusted to more work demands and new technologies. A questionnaire was combined with participant observation for analysis. The participants included 289 television journalists, selected from local affiliates throughout the United States. The results indicate that there is preference for younger workers and burnout occurring to all age groups. This study explores the commodification of the profession in terms of labour value.
5
Pjesivac, Ivanka, Yvonne Cantrell-Bickley, and David Hazinski. "Digital Convergence in the Newsroom: Experimenting With Modular Production of Television News in Grady Newsource." Journalism & Mass Communication Educator 73, no. 3 (July 27, 2017): 346–57. http://dx.doi.org/10.1177/1077695817719135.
Full textAbstract:
In this essay, we describe modular production of television news, established at the University of Georgia, one of the leading journalism programs in the United States, in the scope of its experience-based learning efforts. The new method of producing television news assumes the innovative way of combining live and prerecorded segments of traditionally “all live” television newscasts to encourage proficient dissemination of the news content on multiple platforms and focus journalistic work more fully on the editorial process of news production. The findings are discussed in light of situational learning theories and Parkinson’s Law of time management, as well as benefits for student learning.
6
Lozano, Jose Carlos. "From Parochialism to Cosmopolitanism in the American Audiovisual Supply? Netflix’s New Releases of Television Fiction in the United States and their Geographical Diversity." Anagramas Rumbos y Sentidos de la Comunicación 20, no. 40 (May 19, 2022): 200–223. http://dx.doi.org/10.22395/angr.v20n40a9.
Full textAbstract:
The supply of films and TV series in the United States has been historically dominated by national programming produced by its powerful media conglomerates, significantly limiting the diversity and plurality of choices for their American viewers. Netflix and other video-on-demandplatforms are changing this situation, significantly increasing the availability in the United States of fiction produced in different regions of the world, potentially exposing their subscribers to new narrative styles, scenarios, ethnicities, nationalities, languages, and cultural features. This study, based on the methodology of content analysis, analyzes the geographical origin and production type of new Netflix scripted television releases in the United States from January 2017 to June 2018 and discusses their potential relevance in broadening the degree of geographical diversity among American subscribers to the platform. The paper concludes that while Netflix USA substantially increased the supply of foreign television series in its catalog during that period, a sizeable part of the imports came from countries with high degrees of “cultural proximity” with the United States. The article concludes by discussing the possible “Americanization” of foreign audiovisual productions, formats, and genres bought or produced by Netflix.
7
Richeri, Giuseppe. "Audiovisual industry and the structural factors of the television crisis." MATRIZes 11, no. 1 (April 30, 2017): 13. http://dx.doi.org/10.11606/issn.1982-8160.v11i1p13-24.
Full textAbstract:
This article analyzes the current state of traditional television financing resources, detecting a critical situation in its three main sources (advertising, signatures and service charges). Next, it discusses the most dynamic part of the television sector: Video on Demand (VoD) and Subscription Video on Demand (SVoD) services, which could generate new resources for audiovisual production. However, the analysis of the catalogs of these services shows a low supply of European films compared to the United States. Thus, as on other occasions, the development of new television services and new business models could be a missed opportunity for the European audiovisual industry.
8
Gumbert, Heather. "The Deutschland Series: Cold War Nostalgia for Transnational Audiences." Central European History 54, no. 2 (June 2021): 352–60. http://dx.doi.org/10.1017/s0008938921000480.
Full textAbstract:
How do you explain the Cold War to a generation who did not live through it? For Jörg and Anna Winger, co-creators and showrunners of the Deutschland series, you bring it to life on television. Part pop culture reference, part spy thriller, and part existential crisis, the Wingers’ Cold War is a fun, fast-paced story, “sunny and slick and full of twenty-something eye candy.” A coproduction of Germany's UFA Fiction and Sundance TV in the United States, the show premiered at the 2015 Berlinale before appearing on American and German television screens later that year. Especially popular in the United Kingdom, it sold widely on the transnational market. It has been touted as a game-changer for the German television industry for breaking new ground for the German television industry abroad and expanding the possibilities of dramatic storytelling in Germany, and is credited with unleashing a new wave of German (historical) dramas including Babylon Berlin, Dark, and a new production of Das Boot.
9
Rokosz-Piejko, Elżbieta. "Adapting, Remaking, Re-visioning: Alex Haley’s Roots in a Triangular Relationship with Its Two Television Adaptations." Polish Journal for American Studies, no. 12 (Spring 2018) (April 30, 2022): 143–52. http://dx.doi.org/10.7311/pjas.12/1/2018.10.
Full textAbstract:
The 1977 television adaptation of Alex Haley’s family saga was an overwhelming (although rather unexpected) success, both in the United States and abroad. The 8-hour miniseries, aired first by the History Channel on Memorial Day 2016, is a new take on the adaptation of Haley’s text, advertised as a remake of the 1977 production. The article refers to the original success of Haley’s text, followed by numerous controversies, and then discusses the appropriation of the story for the 1977 mostly white television audience, to finish up with a discussion of the angle which the 2016 production took, engaging in dialogue with the “iconic” 1977 miniseries.
10
Moran, Albert. "The International Face of Australian Television." Media International Australia 121, no. 1 (November 2006): 174–87. http://dx.doi.org/10.1177/1329878x0612100119.
Full textAbstract:
Australian television has always been part of an international cultural system. Programming, personnel, material resources, ideas and knowledge are among the elements that, historically, have moved between an audiovisual space, both here and elsewhere. Media executive Reg Grundy has been an important figure in this system. Over nearly 40 years, he built a television empire of considerable international significance. After sketching out this career, the article proceeds to outlines three moments in his company's development. The first occurred in the 1960s and early 1970s when it imported and remade many successful television game shows from the United States. A second occasion occurred in the mid-1970s when Reg Grundy Enterprises imported a small team from the United Kingdom who were highly experienced in the production of daily drama serials. The third moment happened in the very early 1990s, when Grundy World Wide began adapting drama serials that it had originally devised and produced in Australia to be remade elsewhere. These three occasions were important points where the national met the international. Collectively, they highlight not only the outwardlooking dimension of Australian television, but the need for home-based media historians to make such a perception central to their investigations of a pre ‘media globalisation’ past.
Dissertations / Theses on the topic "Television Production and direction United States"
1
Stevenson, Neil. "The production and mediatisation of political talk television in the United States, Australia, and the United Kingdom." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/988z1/the-production-and-mediatisation-of-political-talk-television-in-the-united-states-australia-and-the-united-kingdom.
Full textAbstract:
This thesis is a cross-national study that investigates political talk television. The first and main part looks at political talk show production. By talking to senior political talk producers working in different countries, newsrooms and political talk shows, this study constructs a general framework – involving structural, agency, and ideational factors – which explains how political talk shows are produced, and more importantly, why they appear the way they do. The thesis argues that the traditional divide between structures and agency needs to be abolished to truly understand news production. A typology of talk is constructed – parliamentary talk, participatory talk and advocacy talk – which demonstrates that although the general production framework applies to all shows, different forms of talk are more or less responsive to different production elements. The second part interrogates the content of political talk shows by looking at marketisation and mediatisation. To what extent can marketisation and mediatisation explain political talk content? A cross-national methodology is employed that categorises the three countries according to their marketisation levels. The relationship between marketisation and mediatisation is then examined in a qualitative content analysis of political talk shows. Evidence suggests that American talk is more mediatised than British or Australian talk – it is more interpretive, more likely to view politics as a game, more likely to personalise politics, and more likely to rely on aesthetic aspects – and some weaker evidence shows British talk as slightly less mediatised than Australian talk, in-line with marketisation expectations. However, no relationship has been identified between more or less commercial news institutions and mediatisation of political talk content other than to conclude that advocacy talk is the most mediatised style of talk overall. These results highlight that the antecedent of mediatisation is most evident at the macro level of analysis. However, they also point to a problem with the mediatisation theory at lower levels of analysis: political talk is at least partly a mediatised format, but the drivers of this mediatisation do not relate simplistically to more or less marketisation because institutional marketisation does not relate to mediatisation of content, and therefore, the mediatisation of political talk shows might very well relate to wider cultural and political factors.
2
Bhatia, Parul. "India Vaale in the United States." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935597/.
Full textAbstract:
This documentary reveals the thoughts and feelings of seven Indian students at the University of North Texas, Denton, Texas. It portrays that better material comforts in the U.S. condition the decision of Indian students in not returning to India even after the completion of their studies. It also shows their feelings of nostalgia for the social and cultural milieu of their home country, India. For this project 18 Indian students at the University of North Texas were interviewed and seven of them became part of the final documentary.
3
Dean, Adam T. "The Paradox of Creativity and Business in Feature Hollywood Filmmaking: The Relationship Between Motion Picture Production and Budgeting." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4885/.
Full textAbstract:
This study examines the relationship between movie budgeting and the creative process in Hollywood filmmaking. To understand the effects of this relationship on the creative product, several films are analyzed within the production process where conflicts between the investors and creators are observed. A case study approach is guided by theories of the production of culture, which state that creative products manufactured in the cultural industry must be analyzed in relation to their surrounds society. Findings suggest previous indicators of box office success are becoming primary influences in the filmmaking process. The study also finds that financial standards in Hollywood potentially inhibit innovation among creative participants within a limited Hollywood creative sphere.
4
Fossum, Louis Eric. "Danny Daniels: A life of dance and choreography." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2357.
Full textAbstract:
The career of Danny Daniels was significant for its contribution to dance choreography for the stage and screen, and his development of concept choreography. Danny's dedication to the art of dance, and the integrity of the artistic process was matched by his support and love for the dancers who performed his choreographic works.
5
Colson-Duparchy, Alexia. "Bridges, hoops and pools : international film co-production : the interface between culture and trade." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=78210.
Full textAbstract:
International film co-productions are sometimes thought of by the Americans as a form of financing providing the U.S. with the ability to sell works to its most important export market, Europe. Europe prefers thinking of it as way to provide its market with works that reflect European culture and ideals. This thesis questions the reality of such a statement, using the examples of the EU, the U.S. and Canada.The author first explains the mechanism of co-production within the framework of a presentation of the methods of film financing. Follows a twofold discussion on the current nature of international co-productions, on both the international and national levels.
A considerable portion of this work examines the terms of the debate about the interplay between culture and trade. As an instrument used in the audiovisual industry, therefore strongly connected to cultural industries, international co-production is indeed an ideal model to represent the tensions existing between culture and global trade. This thesis sets international co-production up as a symbol of the interface between culture and trade.
Follows a debate on the congruity of the existing global and regional trade agreements for the protection of a culture always weaker in its diversity and propagation. With the prospect of the imminent phasing out of the sectoral exemptions allowed by the GATS, the inadequacy of the NAFTA cultural exemption and current quota policy systems, what would be best to calm down the tensions between culture and trade? Three solutions are discussed here: the New International Instrument on Cultural Diversity; a powerful competitor to the American majors such as Vivendi-Universal, and the technique of co-ventures.
6
Moore, Stan (Stan Clark). "Caddo Blues: The Making Of A Stunt." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500982/.
Full textAbstract:
Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.
7
GRAY, FRED ALLEN. "CHILDREN'S MUSICALS, 1973-1985: ANNOTATIONS WITH SOURCEBOOK FOR PRODUCTION (DRAMA, ELEMENTARY, HISTORY, VOICE, CHORAL)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188089.
Full textAbstract:
The purpose of this study was to collect and annotate the musical dramas for children of elementary school age published since 1972. Musical dramas selected were limited to those having a story line rather than just a narrator and chorus, having dialogue interaction between the characters, containing mostly original music, and written for grades kindergarten through six. This document is intended as a resource for elementary school teachers and church workers who are searching for appropriate material for performance or study. Annotations of 210 musicals for children, sacred and secular, are the main emphasis of the study. Pertinent information in each annotation includes: basic story line, voice span (extreme range of the music), tessitura (range where most of the tones lie), recommended grade level, duration, type of accompaniment available, 1985 prices and required purchase for performance rights, staging requirements, number and characteristics of the songs, and personnel needed. Musicals were obtained through publishers, music retailers, and leasing firms. A part of the study is a history of musical drama in America and in America's schools. Musical drama has been a part of elementary education in America almost from its inception. The first musical drama in America was presented in Charleston, S.C., in 1735, and the first school music drama was presented in New York in 1853. Because children's musicals involve the child voice, information is contained in the study concerning practices which might cause vocal damage. Current research and theory about children's voice range is reported. Opinion is divided about proper natural voice range for children. Each viewpoint has supporting research. The study shows that an abundance of musical drama material is available for children of elementary age, especially the upper grades. A sourcebook for directors and producers of children's musicals has been included to assist those who have a limited knowledge of stage lighting, choreography, make-up, sound systems, sets, and costumes. Suggestions are provided for choosing a musical, holding auditions, scheduling rehearsals, and involving parents and community. 1973 was selected as the beginning date for inclusion of musicals in the study because of the resurgence of writing and publishing elementary school musicals and because of the growing number of musicals written for church children's groups. Recommended areas for further research concerning children's musicals include the present usage figures for published musicals, an annotated list of musicals using only narrators and choir, and usage figures of musicals by geographic areas.
8
Li, Tingting. "An Analysis of the 4:2:1 Documentary." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500078/.
Full textAbstract:
As a Chinese filmmaker, I feel obligated to reveal a true story about Chinese international students. Through my subjects and my stories, I am planning to express the messages that both adapting to a new culture and paying the financial cost of a foreign education have never been simple, but we will never give up our dreams.
9
Watkins, Fred P. "Independent Feature Filmmaking: the Historical Development of Current Methods." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.
Full textAbstract:
The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.
10
Wright, Adam Michael. "Hauntology Man." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157557/.
Full textAbstract:
Hauntology Man, a 48-minute documentary, follows former UNT Professor, Dr. Shaun Treat, as he leads a walking ghost tour of downtown Denton, Texas. As the expedition moves from storefront to storefront, each stop elicits a new tale. But, as Dr. Treat points out, the uncertainties of history are the real ghosts. That is, rather than simply presenting a "haunted history" of Denton, it's more accurate to say this movie's center resides at the precipice of a "haunting history." Not all ghost stories need spectres. Sometimes not knowing is ghost enough.
Books on the topic "Television Production and direction United States"
1
1957-, Owens Jim, ed. Television production. Burlington, MA: Elsevier, 2009.
Find full text
2
Gerald, Millerson, ed. Television production. Oxford [England]: Focal Press, 1999.
Find full text
3
Production culture: Industrial reflexivity and critical practice in film and television. Durham, N.C: Duke University Press, 2008.
Find full text
4
Created by--: Inside the minds of TV's top show creators. Los Angeles, Calif: Silman-James Press, 2005.
Find full text
5
We bombed in Burbank: A joyride to prime time. Reading, Mass: Addison-Wesley Pub., 1994.
Find full text
6
Murray, Joe. Creating animated cartoons with character: A guide to developing and producing your own series for tv, the web, or short film. New York: Watson-Guptill Publications, 2010.
Find full text
7
Pittsburgh film history: On set in the steel city. Charleston, SC: The History Press, 2012.
Find full text
8
Southampton Media Education Research Group. and TVS (Firm : Great Britain). Community Unit., eds. Making The Real world: A study of a television series. Cambridge [Cambridgeshire]: Cambridge University Press, 1988.
Find full text
9
1948-, Terrace Vincent, and Parish James Robert, eds. The complete actors' television credits, 1948-1988. 2nd ed. Metuchen, N.J: Scarecrow Press, 1989.
Find full text
10
Perry, Jeb H. Screen Gems: A history of Columbia Pictures Television from Cohn to Coke, 1948-1983. Metuchen, N.J: Scarecrow Press, 1991.
Find full textBook chapters on the topic "Television Production and direction United States"
1
Redvall, Eva N. "Mainstream Trends and Masterpiece Traditions." In Transatlantic Television Drama, 131–46. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0009.
Full textAbstract:
The chapter explores the successful meeting of “mainstream trends” and “masterpiece traditions” in the commissioning and production of Downton Abbey (2010–2015), and the way in which this “postheritage drama” marks a significant transatlantic encounter between different broadcasting cultures and storytelling traditions. Drawing on recent research on the special relationship between the United Kingdom and the United States in television drama, the analysis first details how this period drama became a collaboration between the commercial UK broadcaster ITV and the American PBS station WGBH and its Masterpiece series. The chapter then investigates how the long-form narrative with soap opera elements was designed to tap into the UK tradition of heritage drama, while drawing on the speed and storytelling style of US television series. The chapter closes with a discussion of Downton Abbey’s production story in relation to the series’ remarkable popularity in the United Kingdom, the United States, and beyond.
2
Petruska, Karen, and Faye Woods. "Traveling without a Passport." In Transatlantic Television Drama, 49–68. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0004.
Full textAbstract:
The speed and breadth with which global television is crossing borders has been accelerated by legal web-delivered platforms, particularly services like Netflix and Amazon Video internationally and Hulu in the United States. These sites are developing impressive reputations as prolific producers of “original” content, but this designation as original obscures the national origins of imported programming to claim all creative credit for the SVOD distributor. The authors identify a distinctive shift from long-standing practices surrounding imports on both sides of the Atlantic through the paratextual framing practices of particular SVOD services. To identify these programs as original content communicates exclusivity and freshness, but when this identification is used falsely, it erases the production and exhibition histories of the shows in their originating countries and threatens the global diversity of content, the viability of independent producers, and the localism that has been central to broadcasting from its origins.
3
Carter, Eli Lee. "Pay-Television Welcomes Brazil." In The New Brazilian Mediascape, 42–65. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401834.003.0003.
Full textAbstract:
This chapter focuses on the pay-television sector. Though it first arrived to Brazil in 1990, for the better part of two decades Brazilian pay-television was largely characterized by slow growth, access limited to the country’s most affluent classes, and a programming-grid chock-full of content imported from the United States. The Pay-TV Law’s establishment of quotas for locally produced content, however, has helped to carve out a space for the production and distribution of Brazilian content. With this in mind, the chapter analyzes 1 contra todos (1 Against All, Fox Brasil) and Lama dos dias (Mud of the Days, Canal Brasil). In addition to satisfying the content quotas outlined in the Pay-TV Law, both series benefited from government financing mechanisms, were directed by celebrated Brazilian filmmakers, and explicitly, albeit in distinct ways, contemplate the nation and Brazilianness.
4
Allen, Craig. "The Perenchio Era." In Univision, Telemundo, and the Rise of Spanish-Language Television in the United States, 182–213. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401643.003.0009.
Full textAbstract:
Period: 1993–1999. Perenchio’s tenure at Univision begins contentiously. Capitalizing on the PLA and ignoring discord, Perenchio has President Ray Rodriguez quickly reinstate Televisa’s popular content. As U.S. programs are replaced, Univision personnel lose their jobs. At Telemundo, Blaya briefly succeeds before Telemundo declares bankruptcy. Steinberg yields ownership of Telemundo to another Wall Street “raider,” Leon Black. Univision soars in the early Nielsen ratings. Upon broadcasting Televisa’s blockbuster María la del Barrio, Univision reaches 80 percent of Latino viewers. Telemundo falls to 20 percent. Its audiences equaling those of ABC, CBS, NBC, and Fox, Univision issues public stock. It becomes a multibillion dollar firm. Acquired by Sony, Telemundo’s attempt at domestic production alienates Latinos and brings record low ratings. While Telemundo’s reach shrinks to 7 percent of the Latino audience, Univision’s reach enlarges to 93 percent. Univision’s reaches 98 percent with its millennium telecast. It is the highest rating Nielsen ever reports. However, upon Azcárraga Milmo’s death, Televisa passes to his son and heir, Emilio Azcárraga Jean, who demands that Perenchio renegotiate the PLA. Perenchio refuses. Azcárraga Jean sabotages a novela Univision is to show. Warfare awaits.
5
Allen, Craig. "Univision and Telemundo." In Univision, Telemundo, and the Rise of Spanish-Language Television in the United States, 153–81. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401643.003.0008.
Full textAbstract:
Period: 1987–1992. A turbulent period begins when Univision and Telemundo launch. Telemundo’s founders are Wall Street “raiders” Saul Steinberg and Harry Silverman. Directed by Carlos Barba, Telemundo at first excels. Formerly SIN, Univision now is controlled by Hallmark, its head Irvine Hockaday. Directed by Joaquin Blaya, Univision counters Televisa’s high fees with two classic U.S.-produced Spanish-language shows: Sábado Gigante and Christina. However, the two networks divide audiences and suffer financially. At Telemundo, near bankruptcy, Steinberg ousts Silverman. Hallmark defaults on Univision’s debt. The first Hispanic Nielsen ratings, needed to attract advertisers, raise hopes for large revenues. However, Univision falls in the ratings when Blaya eliminates Televisa programs and initiates “domestic production.” Preferring foreign content, viewers reject further U.S.-produced shows. Hallmark sells Univision to Hollywood mogul Jerry Perenchio. He names Azcárraga part owner. Both eager to reinstate Televisa programs, largely telenovelas, in the U.S., Perenchio compels Azcárraga to sign a Program Licensing Agreement (PLA) by which Univision will pay Televisa a pittance for programs until 2017. Blaya is outraged. He resigns, becomes president of Telemundo, and stages a mutiny of Univision’s personnel.
6
Baker, Courtney R. "Movin’ on Up—and Out." In Black Cultural Production after Civil Rights, 94–118. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042775.003.0005.
Full textAbstract:
This chapter discusses the visual culture of 1970s Black America, focusing especially on popular culture artifacts such as film, television, and comics, to make sense of the idea of movement in the postsegregationist United States. It attends to the representation of black people in various locations—from the inner city to the suburbs to a historical memory of the plantation slavery, the middle passage, and an African motherland—in visual forms, including Afrocentrist iconography, photography, and fine art. By attending to popular images, an important if not fuller picture of Black visual politics during the post-civil rights era becomes apparent.
7
Swanson, Jason R., and Taylor Johannigman. "Autoethnography of Cultural Heritage Tourism Documentary Production." In Global Perspectives on Strategic Storytelling in Destination Marketing, 38–51. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3436-9.ch003.
Full textAbstract:
Using an auto-ethnographic approach, this chapter describes aspects of how a story about cultural and heritage tourism is produced as a documentary for public television. A documentary storytelling production about a proposed national heritage area in the United States provides a case study for the chapter. Included is a discussion of ethical dilemmas that arose during documentary production and how the dilemmas were addressed. Ethical dilemmas included dealing with concerns about protecting people and property, telling stories about subjects that could be viewed as controversial, covering narratives that have been neglected through history, and avoiding advancing stereotypes about people in the subject region. Solutions to dilemmas were found in how stories were crafted for the documentary production.
8
Nygaard, Taylor, and Jorie Lagerwey. "Peak TV and the Spreadability of Transatlantic Horrible White People." In Horrible White People, 39–74. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479885459.003.0002.
Full textAbstract:
Expanding the sketch of the conjuncture of significant cultural shifts leading to the ideological centralization of white precarity outlined in the introduction, this chapter uses TV industry studies to map the correlated changes in TV production and distribution models. It illustrates how content providers prioritize race and class identities and shared affects over national identities, finding commonalities in revenue-driven definitions of “quality audiences” before commonalities of geography. The chapter focuses on the disruption to the TV industry created by internet-distributed portals like Netflix, Hulu, Amazon Prime Video, and HBO Now, especially their increased production of a certain type of “quality” fictional programming meant to attract an “imagined community” of upscale transnational consumers. This chapter thus examines how changes in the technology and business models of transnational television distribution have played a huge role in the rapid spread of the Horrible White People programming cycle, thereby contributing to the continued invisibility or normalization of white supremacy in the United States and Britain and confirming that television is still a dominant cultural and ideological force in society, despite the surplus of content, fragmentation of audiences, and other industrial changes that may have appeared to diffuse its impact in the era of “Peak TV.”
9
Price, Trevor. "Food Security." In Ecology of a Changed World, 83–94. Oxford University PressNew York, 2022. http://dx.doi.org/10.1093/oso/9780197564172.003.0009.
Full textAbstract:
Abstract Over the last 50 years, per capita food supply has increased despite a doubling of the human population. Nevertheless, more than 800 million people are undernourished, primarily because they are too poor to purchase enough food. Assuming people come out of poverty and the population continues to grow, this chapter asks how calorie consumption could be doubled by 2050. Preventing food waste, along with a shift to a pescatarian or vegetarian diet, would achieve this goal, but habits are currently trending in the opposite direction. Increased fertilizer plus technological advances could double production on current lands. Rapid gains in productivity result from selection, hybridization, and, more recently, genetic modification (GM) of cultivated species. GM has largely been devoted to introducing pesticide and herbicide-resistant genes into corn, soybeans, and cotton: most of those crops grown in the United States and China, are now genetically modified. The benefits and drawbacks of GM are discussed.
10
Wolf, Stacy. "Introduction." In Beyond Broadway, 1–34. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190639525.003.0001.
Full textAbstract:
Local musical theatre from high schools to community theatres, from summer camps to dinner theatres, is a thriving art form in the United States. Musical theatre provides a creative outlet, a way to make friends and build community, and a route to identity formation. Local musical theatre is a folk practice that is handed down from one generation to the next. The context of this book is the 2010s, a decade when musical theatre came into new visibility in the United States, building on the success of the television series Glee, reality performance competition shows, live televised musicals, and successful film musicals. Though Broadway is a global brand, musical theatre is a local phenomenon, embedded in its community and in conversation with local issues. Technology enables musical theatre through the proliferation of YouTube clips and online sites but is also anathema to it, as musical theatre is a face-to-face, live practice for both creators and audiences. Local musical theatre production both depends on and feeds the global licensing industry. Local musical theatre blurs the line between amateur and professional, as many people do musicals solely for fun and yet take their activity as seriously as work. The book relies on a feminist, empathetic ethnographic method, which incorporates participant-observation and interviews as well as an open exchange about how subjects are represented. The structure of the book is a journey across America to visit many sites and types of musical theatre production.
Conference papers on the topic "Television Production and direction United States"
1
Okorie, Michael K., Uzumma O. Ozeh, and Xiuling Wang. "Wind Energy Assessment of Michigan City, United States." In ASME 2018 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/imece2018-88412.
Full textAbstract:
There is a growing need for an environmentally friendly source of energy that can replace the conventional fossil fuel energy. This is because the effects of global warming is becoming very obvious, as evidenced by the severe flooding that occurred in the U.S. in 20171. Two notable solutions to this dilemma are wind and solar energy. Solar powered devices derive their energy from the sun, hence, the amount of energy is severely limited during the cold months of the year when solar intensity is typically low. Wind energy, on the other hand is most prevalent during this cold months when the wind speed is typically higher. The aim of this research is therefore to conduct a comprehensive assessment of wind energy potential in Michigan City, Indiana, United States. This information will allow homeowners and investors with interest in alternative energy to make critical decisions in this regard. The study was conducted using wind speed data collected over a five-year period from 2012 to 2016. In this work, we have also determined the best method for evaluating the Weibull parameters (shape and scale factors) for wind data analysis. The site average wind speed ranged from 4m/s to 9m/s with a peak in the winter months and minimum in the summer months. The wind speed with the maximum energy at the hub height varied between 5.84 m/s in August 2016 to 12.79 m/s in October 2012 with annual average speeds between 8.85 and 9.35 m/s and a five-year average of 9.13 m/s. The prevailing wind speed was within the range of 4–8m/s and strongest on the Southern part of the site especially in the South Southeastern direction. Consequently, siting a wind turbine on the Southern part of the City would generate more energy than on any other direction. Among the turbines analyzed, ITALTECH 250 will yield the maximize energy production with a capacity factor of 0.385 and average annual energy production of 840 MWh/yr. The results presented in this work proves the great potential for investments in wind energy in Michigan City.
2
Morris, Robert J., Barry K. Benedict, Bradford A. Cowles, William A. Stange, and William J. Scheuren. "Active Structural Control for Gas Turbine Engines." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-514.
Full textAbstract:
High cycle fatigue (HCF) is a widespread technical problem in aircraft gas turbines, and can lead to the premature failure of plumbing, pumps, accessory drives and airfoils. Roughly 35% of the problems associated with newer production engines are the direct result of HCF. This paper discusses three innovative technologies that can assist in the avoidance or elimination of high cycle fatigue failures in aircraft gas turbines. This work was performed under the sponsorship and direction of the Defense Advanced Research Projects Agency (DARPA) and the United States Air Force Research Laboratory.
3
Bakhshi, Roozbeh, and Peter Sandborn. "Using LIDAR on Wind Turbines for Yaw Error Correction: A Financial Prospective." In ASME 2018 Power Conference collocated with the ASME 2018 12th International Conference on Energy Sustainability and the ASME 2018 Nuclear Forum. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/power2018-7310.
Full textAbstract:
Wind energy and especially offshore wind energy faces an uphill battle in the United States to become a mainstream source of energy generation due to its high price relative to fossil fuels. The wind industry is looking for methods to reduce the costs of energy production by improving the efficiency of wind turbines and reducing their operation and maintenance costs. Correction of yaw error is one way to lower the price of wind energy. Yaw error is the angle between the turbine’s central axis in horizontal plane and the wind flow direction. LIDAR devices are used to correct yaw error, however they are expensive. Therefore, there is a need to develop a return on investment model (ROI) to calculate the cost trade-offs of using such systems. This work reviews how yaw error affects the performance and maintenance costs of wind turbines, discuss the development of an ROI model and provide a case study with two scenarios where LIDAR is used to correct the yaw error of an onshore and an offshore wind farm.
4
Becker, W. L., R. J. Braun, and M. Penev. "Evaluation of Synthetic Natural Gas Production From Renewably Generated Hydrogen and Carbon Dioxide." In ASME 2014 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/imece2014-39302.
Full textAbstract:
The natural gas distribution infrastructure is well developed in many countries, enabling the fuel to be transported long distances via pipelines and easily delivered throughout cities. Using the existing pipeline to transport renewably generated synthetic natural gas (SNG) can leverage the value of the product. While the price of natural gas is near record lows in the United States, many other countries are working to develop SNG as an alternative fuel for transportation markets, especially in Europe and for island nations. This study presents an SNG plant design and evaluates its performance for producing SNG by reacting renewably generated hydrogen with carbon dioxide. The carbon dioxide feedstock is assumed to be captured and scrubbed from an existing coal fired power plant at the city-gate, where the SNG plant is co-located. Historically, methanation has been a common practice for eliminating carbon monoxide and carbon dioxide in various chemical processes such as ammonia production and natural gas purification; for these processes, only small amounts (1–3% molar basis) of carbon oxides need to be converted to methane. A “bulk” methanation process is unique due to the high concentration of carbon oxides and hydrogen. In addition, the carbon dioxide is the only carbon source, and the reaction characteristics of carbon dioxide are much different than carbon monoxide. Thermodynamic and kinetic considerations of the methanation reaction are explored to model and simulate a system of reactors for the conversion of hydrogen and carbon dioxide to SNG. Multiple reactor stages are used to increase temperature control of the reactor and drain water to promote the forward direction of the methanation reaction. Heat recuperation and recovery using organic Rankine cycle units for electricity generation utilizes the heat produced from the methanation reaction. Bulk recycle is used to increase the overall reactant conversion while allowing a satisfactorily high methane content SNG product. A hydrogen membrane separates hydrogen for recycle to increase the Wobbe index of the product SNG by increasing the methane content to nearly 93% by volume. The product SNG has a Wobbe index of 47.5 MJ/m3 which is acceptable for natural gas pipeline transport and end-use appliances in the existing infrastructure. The overall plant efficiency is shown to be 78.1% HHV and 83.2% LHV. The 2nd Law efficiency for the SNG production plant is 84.1%.
5
Vögler, Arne, and Vengatesan Venugopal. "Observations on Shallow Water Wave Distributions at an Ocean Energy Site." In ASME 2015 34th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/omae2015-41044.
Full textAbstract:
The paper analyses the changes in wave conditions during wave propagation between intermediate and shallow water depths at a potential wave energy deployment location. The Outer Hebrides of Scotland in the United Kingdom are home to the world’s largest fully consented wave power project and hence a detailed understanding of the local resource is important to the developer to inform annual yield forecasting, technology refinements, and installation and operational plans. To support wave power projects and to reduce uncertainty and risk associated with yield production and performance estimates of energy developments, a sensor network was installed in the area from 2011–2013. Consisting of three floating buoys in intermediate depth and two combined acoustic and pressure sensors in the nearshore region, the data obtained from the different sensors at different locations in close proximity to each other have given a valuable insight in the hydrodynamic wave processes in the area. Data of the two acoustic sensors and one wave buoy are analysed in this paper for a period covering the full range of sea states to be expected throughout a calendar year. Distributions of maximum and significant wave heights, wave steepness and wave direction during a range of different meteorological conditions are examined and a comparison between the different sensor locations is included. The analysis also considers different distributions of both wave power and period observed during the measurement campaign.
6
Bakhshi, Roozbeh, and Peter Sandborn. "The Effect of Yaw Error on the Reliability of Wind Turbine Blades." In ASME 2016 10th International Conference on Energy Sustainability collocated with the ASME 2016 Power Conference and the ASME 2016 14th International Conference on Fuel Cell Science, Engineering and Technology. American Society of Mechanical Engineers, 2016. http://dx.doi.org/10.1115/es2016-59151.
Full textAbstract:
The rise of energy prices, concerns over climate change and geopolitical issues have brought special attention to renewable sources of energy and wind energy in particular. Based on NREL projections, the United States has more than 32,000 TWh of onshore and 17,000 TWh of offshore potential for wind power generation, which is far beyond its 11,000 TWh of current annual electricity consumption. However, there are a number of efficiency challenges that must be overcome in order to turn this potential into actual production. One area that can potentially improve the energy production of wind turbines is the correction of yaw error. Yaw error (also referred to as yaw angle or yaw misalignment) is the angle between the turbine’s rotor and the wind direction. A yaw error reduces turbine’s power production at wind speeds below the rated speed. Besides impacting the power producing ability of a turbine, yaw error also affects the reliability of critical subsystems in wind turbines. Variation in yaw error (at any wind speed and not only below the rated speed) affects the loads on the components and the subsequent mechanical stresses. These mechanical stresses change the damage accumulation for components and sub-assemblies, which ultimately affects their reliability. About 17 to 28% of wind project costs attribute to O&M costs, which are directly affected by the reliability. In this study, we investigate the effects of yaw error on the reliability of blades by performing load and stress analysis for various yaw errors. We then use the results of these analyses to adjust the Weibull parameters used for predicting the failure time of blades. Finally, we will use a stochastic cost model to show how correcting the yaw error can avoid maintenance costs in wind farms.
7
Chávez, Minerva S. "EMPLOYING WHITENESS AS PROPERTY: LEADERSHIP IN HIGHER EDUCATION AND THE SIGNALING DIVERSITY WHEN YOU ARE WHITE." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v2end061.
Full textAbstract:
"Academic leaders in the United States are tasked with establishing university strategic plans that facilitate a holistic educational experience in order to meet the needs of our diverse student populations. A holistic education includes the academic, social, emotional, and spiritual (meaning of life, finding purpose) necessities of our students. To this end, let us consider the leaders accountable for upholding this ethical imperative. This autoethnography examines the concept of Whiteness as Property (WaP) (Harris, 1993) to identify how the distribution of power amongst educational leaders maintains whites in a space of racialized privilege while using people of color to signal their commitment to establishing a diverse university culture. Using the WaP lens, allows for the analyses of the practices, behaviors, and other social performances administrators engage in to construct their leadership identities in relation to the current sociopolitical milieu concerning inclusion and diversity. Autoethnography illuminates these leadership practices in unique ways—the narratives are from the perspective of the non-traditional leader. We serve to collectively lead our universities in the right direction to meet our strategic goals and provide equable education for all students. As a working-class Latina occupying educational leadership roles, autoethnography permits the theorization of my liminal perspective to underscore the interconnected role of universities as apparatuses assisting in capital accumulation, legitimation, and production. The narratives provide an analytical and profoundly humanistic understanding of the experiences that shape our conscious behaviors, actions, and thoughts in our workplace."
8
Bian, Zheyong, Nathalie Carchi, and Xiang Liu. "A Literature Review on Railroad Tank Car Thermal Protection Systems." In 2020 Joint Rail Conference. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/jrc2020-8099.
Full textAbstract:
Abstract Railroad tank car transportation is the most efficient way to transport large amounts of hazardous material. More than 2 million tank-car loads of hazardous materials (hazmat) are transported annually by rail in the United States. Recently, the boom in the production of petroleum crude oil and natural gases from shale has dramatically increased the rail transport volume of flammable energy resources. However, accidents do occur, and the transportation of flammable hazardous material can result in disastrous consequences. The fire can heat up a tank car, rapidly increasing the inside pressure and causing the tank car to either rupture or explode. Railroad companies are developing or seeking advanced thermal protection systems to prevent tank car explosion or prolong the burst time to win a sufficient rescue time. It is of great importance to understand the existing thermal protection systems used in hazmat tank cars and to identify key priorities that the government and industry consider for improving tank car thermal protection performance, providing guidance for future thermal protection material development. Thus, this paper reviews the literature on the effects and analysis of different tank car thermal protection systems, identifying the effectiveness of different thermal protection components, properties of thermal protection materials, and testing methodologies. Different combinations of insulators and jackets are tested in order to observe the effects of the fire on the tank car. The tank car is tested while carrying hazardous material like liquefied petroleum gas, propane, and ethylene oxide, etc. This investigation analyzes the differences of thermal protection systems in prolonging the life span of a tank car engulfed in flames. A tank car can use either material like fiberglass, ceramic fiber blankets, perlite powder, or urethane foam to better insulate and thermally protect the tank car. An insulator is shown to prolong the life span of a tank car since bare tank cars tend to heat up rapidly when exposed to flames. The thermal protection system of a tank car is built of insulators, jackets, and supporting material for the insulator. The supporting material and jacket combination with the insulator also prevent the tank car from heating up rapidly. There are two primary testing methods, pool fire, and torch fire. Each type of fire has different outcomes and limits in which the tank car can withstand. When testing the heating of a tank car, thermocouples were placed throughout a tank car and recorded to check what areas were heated the most during the experiment. Some factors that had been accounted for in the previous studies were the wind speed and the direction of the wind, which affected the overall experiment, mostly torch fire experiments.
Reports on the topic "Television Production and direction United States"
1
Kimhi, Ayal, Barry Goodwin, Ashok Mishra, Avner Ahituv, and Yoav Kislev. The dynamics of off-farm employment, farm size, and farm structure. United States Department of Agriculture, September 2006. http://dx.doi.org/10.32747/2006.7695877.bard.
Full textAbstract:
Objectives: (1) Preparing panel data sets for both the United States and Israel that contain a rich set of farm attributes, such as size, specialization, and output composition, and farmers’ characteristics such as off-farm employment status, education, and family composition. (2) Developing an empirical framework for the joint analysis of all the endogenous variables of interest in a dynamic setting. (3) Estimating simultaneous equations of the endogenous variables using the panel data sets from both countries. (4) Analyzing, using the empirical results, the possible effects of economic policies and institutional changes on the dynamics of the farm sector. An added objective is analyzing structural changes in farm sectors in additional countries. Background: Farm sectors in developed countries, including the U.S. and Israel, have experienced a sharp decline in their size and importance during the second half of the 20th century. The overall trend is towards fewer and larger farms that rely less on family labor. These structural changes have been a reaction to changes in technology, in government policies, and in market conditions: decreasing terms of trade, increasing alternative opportunities, and urbanization pressures. As these factors continue to change, so does the structure of the agricultural sector. Conclusions: We have shown that all major dimensions of structural changes in agriculture are closely interlinked. These include farm efficiency, farm scale, farm scope (diversification), and off-farm labor. We have also shown that these conclusions hold and perhaps even become stronger whenever dynamic aspects of structural adjustments are explicitly modeled using longitudinal data. While the results vary somewhat in the different applications, several common features are observed for both the U.S. and Israel. First, the trend towards the concentration of farm production in a smaller number of larger farm enterprises is likely to continue. Second, at the micro level, increased farm size is negatively associated with increased off-farm labor, with the causality going both ways. Third, the increase in farm size is mostly achieved by diversifying farm production into additional activities (crops or livestock). All these imply that the farm sector converges towards a bi-modal farm distribution, with some farms becoming commercial while the remaining farm households either exit farming altogether or continue producing but rely heavily on off-farm income. Implications: The primary scientific implication of this project is that one should not analyze a specific farm attribute in isolation. We have shown that controlling for the joint determination of the various farm and household attributes is crucial for obtaining meaningful empirical results. The policy implications are to some extent general but could be different in the two countries. The general implication is that farm policy is an important determinant of structural changes in the farm sector. For the U.S., we have shown the different effects of coupled and decoupled (direct) farm payments on the various farm attributes, and also shown that it is important to take into account the joint farm-household decisions in order to conduct a meaningful policy analysis. Only this kind of analysis explains the indirect effect of direct farm payments on farm production decisions. For Israel, we concluded that farm policy (or lack of farm policy) has contributed to the fast structural changes we observed over the last 25 years. The sharp change of direction in farm policy that started in the early 1980s has accelerated structural changes that could have been smoother otherwise. These accelerated structural changes most likely lead to welfare losses in rural areas.