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Journal articles on the topic 'Television production companies'
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1
Spicer, Andrew, and Steve Presence. "Autonomy and Dependency in Two Successful UK Film and Television Companies: An Analysis of RED Production Company and Warp Films." Film Studies 14, no. 1 (2016): 5–31. http://dx.doi.org/10.7227/fs.14.0002.
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This article analyses the production cultures of two film and television companies in the United Kingdom – RED Production and Warp Films – by discussing the companies formation and identity, aims and ethos, internal structures and their networks of external relationships. The article argues that although managing directors and senior personnel exercise considerable power within the companies themselves, the companies depend on the extent to which they are able to engage with other industry agents, in particular the large-scale institutions that dominate the film and television industries. By situating analysis of these negotiated dependencies within shifting macroeconomic, historical and cultural contexts, the article argues that the increasing power of multinational conglomerates and the cultural convergence between film and high-end television drama marks a threshold moment for both companies which will alter their production cultures significantly.
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Payne, Alison. "‘The growing practice of calling in continental film groups’." VIEW Journal of European Television History and Culture 6, no. 11 (September 22, 2017): 70. http://dx.doi.org/10.18146/2213-0969.2017.jethc124.
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While the development of commercial television advertising in Britain is often framed in the context of the American model, this paper will argue that London advertising agencies looked across the Channel to French and Dutch production companies and personnel, particularly in the first five years of commercial television, from 1955-1960. Using case studies, this paper will illustrate the involvement of these Continental companies and personnel on the production of advertising films for British commercial television, and identify the reasons why they were replaced by their British counterparts from the early 60s.
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Doyle, Gillian, and Kenny Barr. "After the gold rush: industrial re-configuration in the UK television production sector and content." Media, Culture & Society 41, no. 7 (August 20, 2019): 939–57. http://dx.doi.org/10.1177/0163443719857640.
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Recent technological and market changes in the television industry appear to have transformed the corporate configurations which conduce to economic success in the production industry. As a result, many leading independent television production companies in the United Kingdom and elsewhere across Europe have become prime targets for corporate activity and many have been subject to takeover, often by the US media groups. Does this matter? Does the concept of ‘national’ television content still have any relevance in the digital era? Drawing on a multiple-case-study-based analysis of several UK-based television production companies over recent years, this article examines how corporate takeovers in the production sector may affect creative decision-making and impact on the nature and quality of television content. Against a background of increased investment interest from multinationals in indigenous players in the United Kingdom and across Europe, the analysis presented makes a timely and policy-relevant contribution to knowledge.
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Doyle, Gillian. "Television production: configuring for sustainability in the digital era." Media, Culture & Society 40, no. 2 (July 11, 2017): 285–95. http://dx.doi.org/10.1177/0163443717717634.
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Over recent years leading independent television production companies in the United Kingdom and elsewhere in Europe have become prime targets for corporate activity, and many have been subject to takeover, often by US media groups. Why is it that nurturing the development of television production companies which achieve scale but, at the same time, remain independent appears to be so challenging? This article considers which factors are crucial to the success of television production businesses and argues that, besides the ability to make compelling content, two key variables which strongly affect commercial success and sustainability in this sector are, first, effective management and exploitation of intellect property rights (IPRs) and, second, scale and configuration of activities. Focusing primarily on the latter, it analyses how changing technological and market conditions are affecting the advantages conferred by size and by adopting differing cross-ownership configurations thus, in turn, fuelling current processes of industrial re-structuring.
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Yoedtadi, Moehammad Gafar, Riris Loisa, Genep Sukendro, Roswita Oktavianti, and Lusia Savitri Setyo Utami. "ANALISIS KOMODIFIKASI KONTRIBUTOR DALAM PRODUKSI BERITA TELEVISI." Jurnal Muara Ilmu Sosial, Humaniora, dan Seni 5, no. 1 (April 30, 2021): 213. http://dx.doi.org/10.24912/jmishumsen.v5i1.9777.2021.
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The pattern of news production in the Indonesian television broadcasting industry generally uses two human resources, namely permanent journalists and temporary journalists. Regular journalists are organic employees of television companies. Meanwhile, journalists who are not permanent or contributors only work under a news sale and purchase contract. They are not the organic employees of the television company. They only get honorarium when the news airs. As a result of such a working relationship, the contributors' bargaining position is very weak in front of the television station management. The coverage and news agenda will follow the tastes of television stations. News coverage that is at risk of not airing will be avoided. As a result, there has been neglect of the ideal function of the media in serving the public interest. Based on the political economy theory of media, there has been a commodification of labor in the television news production process. The object of this research is the process of commodification of contributors in the production of television news.Meanwhile, the subjects of this study were television contributors, and news producers of Jakarta television stations.Other contributors who became research informants were in West Java and Ambon. This research uses a qualitative approach with a case study method. Collecting data using in-depth interviews, observation and literature study. The results showed that there has been a commodification of contributors in the production of television news. Television management exploits contributors. Television management promotes false consciousness among contributors who are unaware of the commodification. Pola produksi berita pada industri penyiaran televisi Indonesia umumnya memanfaatkan dua sumber daya manusia, yakni jurnalis tetap dan jurnalis lepas. Jurnalis tetap adalah karyawan organik dari perusahaan televisi. Sementara jurnalis lepas atau kontributor hanya bekerja berdasarkan kontrak jual beli berita. Mereka bukan karyawan organik perusahaan televisi. Mereka hanya mendapat imbalan honor ketika beritanya ditayangkan. Akibat dari hubungan kerja semacam itu, posisi tawar kontributor sangat lemah dihadapan manajemen stasiun televisi. Agenda peliputan dan berita akan mengikuti selera stasiun televisi. Peliputan berita yang berisiko tidak tayang akan dihindari. Akibatnya terjadi pengabaian fungsi ideal media dalam melayani kepentingan publik. Makalah ini hendak membedah proses komodifikasi kontributor berdasarkan teori ekonomi politik media. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Objek dari penelitian ini adalah proses komodifikasi kontributor dalam produksi berita televisi. Sementara itu subjek dari penelitian ini adalah para kontributor televisi, dan para produser berita stasiun televisi Jakarta. Kontributor lain yang menjadi informan penelitian berada di wilayah Jawa Barat dan Ambon. Pengumpulan data dengan menggunakan wawancara mendalam, observasi dan studi literatur. Hasil penelitian menunjukkan telah terjadi komodifikasi kontributor dalam produksi berita televisi. Manajemen televisi melakukan eksploitasi tenaga kontributor. Manajemen televisi mempromosikan kesadaran palsu kepada para kontributor sehingga tidak menyadari adanya komodifikasi tersebut.
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Doyle, Gillian. "Public policy, independent television production and the digital challenge." journal of digital media & policy 10, no. 2 (June 1, 2019): 145–62. http://dx.doi.org/10.1386/jdmp.10.2.145_1.
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Television production is a vital component of the media and a sector whose performance has important cultural and economic ramifications. In the United Kingdom, the growing prosperity of the programme-making sector – attributable partly to historic policy interventions – is widely recognized as being a success story. However, a recent wave of corporate consolidation and takeovers, characterized by many leading UK production companies being bought out and often by US media conglomerates, has raised concern about the ability of the independent production sector to flourish in an increasingly globalized and competitive digital environment for television. Although preserving indigenous television production and associated audience access to locally made content remain important goals for media policy, achieving these has become more difficult in the face of trends towards consolidated ownership and ‘the emergence of powerful transnational platforms commercialising cultural goods and services online’ (García Leiva and Albornoz 2017: 10). This article examines the challenges raised for public policy as ownership structures in the television production sector adjust in response to new distribution technologies and to the transformative forces of digitalization and globalization. Focusing on the United Kingdom as an example, it asks do we still need television production companies that are indigenous and independent in a digital world and if so why? What role can and should public policy play in supporting the sustainability of an ‘indie’ sector? Drawing on recent original empirical research into the association between corporate configuration, business performance and content in the television production sector, it reflects critically on historic and recent approaches to sustaining independent producers and it considers how, in a digital world, public policy may need to be re-imagined for a rapidly evolving television landscape.
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Barra, Luca, and Massimo Scaglioni. "TV Goes Social." Convergent Television(s) 3, no. 6 (December 24, 2014): 110. http://dx.doi.org/10.18146/2213-0969.2014.jethc074.
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In recent years, the Italian television scenario has become fully convergent, and social TV is an activity – and a hip buzzword – indicating both a rich set of possibilities for the audience to engage with TV shows, and an important asset developed by the television industry to provide such engagement, with promotional and economic goals. Mainly adopting the perspective of the production cultures of Italian broadcasters, the essay will explore the “Italian way to social television”, highlighting the strategies adopted by networks and production companies to encourage online television discourse and to exploit it as a content, a marketing device or a source of supplementary income.
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VanCour, Shawn, and Chloe Patton. "From Songfilms to Telecomics: Vallée Video and the New Market for Postwar Animation." Animation 15, no. 3 (November 2020): 207–28. http://dx.doi.org/10.1177/1746847720964886.
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From 1948–1952, Rudy Vallée, a successful performer whose career spanned radio, film, recorded music and stage entertainment, expanded his operations into the burgeoning US television market with the launch of his independent production company, Vallée Video. One of hundreds of forgotten companies that arose during this period to meet growing demand for programming content, Vallée Video offers an important case study for understanding animation workers’ role in postwar television production. Drawing on corporate records and films preserved in the Rudy Vallée Papers at California’s Thousand Oaks Library and the UCLA Film and Television Archive, the authors’ analysis documents Vallée’s use of freelance artists and external animation houses for work ranging from camera effects for illustrated musical shorts to animated commercials and original cartoon series. These productions demonstrate the fluid movement of animation labor from theatrical film to small screen markets and participated in larger aesthetic shifts toward minimalist drawing styles and limited character animation that would soon dominate mid-20th century US television.
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Bakøy, Eva, and Vilde Schanke Sundet. "‘Remember, it’s just television’." VIEW Journal of European Television History and Culture 6, no. 11 (September 22, 2017): 53. http://dx.doi.org/10.18146/2213-0969.2017.jethc123.
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This article discusses the corporate strategy of one of the most successful television production companies in Norway: Rubicon TV. Based on a historical analysis from the company’s establishment in the early 1990s until today, the article illuminates how Rubicon TV has navigated in and contributed to the changing Norwegian television landscape. Rubicon TV has gone from a supplier of popular and provocative programmes to a small group of Norwegian broadcasters to a truly digital and global industrial force which produces linear ‘flow’ programmes as well as web-TV and streaming series for both national and international players.
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Christian, Aymar Jean. "Expanding production value: The culture and scale of television and new media." Critical Studies in Television: The International Journal of Television Studies 14, no. 2 (May 16, 2019): 255–67. http://dx.doi.org/10.1177/1749602019838882.
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Web, or networked, distribution technologies have challenged the power of US media corporations, which set high technical standards for production value, a measure of content quality. Legacy TV companies privilege complex, seamless technical execution supported by large crews of workers – lighting, sound, design, visual effects – but exclude as producers culturally marginalised creators perceived as too risky for the big investment necessary to execute it. The internet disrupts these dynamics by allowing for the distribution of smaller scale TV and video productions that are independently or inexpensively made. In smaller scale work, cultural production value asserts more importance, as producers create with and for their community.
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Grundström, Heidi, Jose Juan Cañas Bajo, and Ilkka Matila. "Catching up with our Nordic peers: The rising demand for Finnish drama series and its impact on local film and television production companies." Journal of Scandinavian Cinema 10, no. 2 (June 1, 2020): 101–19. http://dx.doi.org/10.1386/jsca_00017_1.
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Traditionally, the Finnish film and television industry has revolved around producing feature films and television series for local distribution. In the past five years, however, the industry has been transformed by a rising demand for high-end drama series. In addition to the positive developments for the economic stability of production companies, challenges are unfolding as the demand for new content keeps growing. This article introduces three recent and central developments, drawing on interviews with four local producers and an analysis of industry and media reports. First, new players have entered the market and introduced new financing opportunities, both domestic and international. Second, international co-production opportunities have grown through production companies’ new international focus. And finally, the introduction of the Finnish production incentive for the audio-visual industry has enabled more ambitious projects. These developments have led to two main challenges that the industry is currently facing: the imminent lack of experienced crew and the need for revised practices for screenwriting, development and production.
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Carter, Eli. "Entering through the Porta dos Fundos: The Changing Landscape of Brazilian Television Fiction." Television & New Media 18, no. 5 (September 7, 2016): 410–26. http://dx.doi.org/10.1177/1527476416667822.
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Brazil is both a leading television producer in the Global South and home to TV Globo, one of the largest and most commercially successful networks in the world. Indeed, for nearly fifty years of its sixty-five year history, TV Globo and its standardized production of extremely popular telenovelas have largely come to characterize Brazilian television fiction as a whole. In this article, I situate the meteoric rise of the independent production company and YouTube sensation, Porta dos Fundos, within the broader context of TV Globo’s declining audience share and the wide-ranging effects of the Pay Television Law (2011). In doing so, I argue that Porta dos Fundos’s audiovisual production for the Internet and prime-time television serves as an illustrative case for understanding the interrelated ways in which recent policy, new distribution platforms, emerging independent production companies, and an influx of locally produced content are helping to shape the changing landscape of Brazilian television fiction as it transitions out of a six-decade-long network era.
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Potter, Anna, and Tom O’Regan. "Pukeko Pictures and the Kiwi DIY Spirit: Building Global Partnerships from the End of the World." Television & New Media 20, no. 5 (January 31, 2018): 492–508. http://dx.doi.org/10.1177/1527476418755305.
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Wellington, New Zealand is a major international screen production base for movies including Peter Jackson’s Lord of the Rings and The Hobbit trilogies. New Zealand production companies like Jackson’s Weta Group producing content for international markets benefit from local policy settings that support such productions. In 2008, a group of long-time Jackson collaborators including Richard Taylor established Pukeko Pictures. In a small country with a deregulated media system, no dedicated public service broadcaster, and minimal supports for children’s television, Pukeko is a successful, globally oriented producer of children’s content. This article examines the strategies that underpin Pukeko Pictures’ production portfolio, which includes the 2015 reboot Thunderbirds Are Go, and a preschool coproduction with China. The combination of dispersed production practices, local subsidies, and quality infrastructure contribute to Pukeko Pictures’ success. We suggest, however, that strategic international relationships managed by Taylor are also critical to Pukeko Pictures developing a significant foothold in transnational television services.
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Lotz, Amanda D. "Teasing apart television industry disruption: consequences of meso-level financing practices before and after the US multiplatform era." Media, Culture & Society 41, no. 7 (August 20, 2019): 923–38. http://dx.doi.org/10.1177/0163443719863354.
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The emergence of Internet-distributed television services such as Netflix has led viewers and legacy television companies to rethink the norms of television. Internet distribution is often presumed as the source of Netflix’s market differentiation, but the contemporary competitive field has simultaneously been adjusted by shifts in revenue model and ownership regulations. This article examines the multiple shifts in the US television industry to illustrate how adjustments in the underlying financing practices of series production and revenue sources also structure the multiplatform environment. Distribution technology is not reshaping the boundaries and norms of television texts and industries alone, but adjustments to industrial practices such as financing must also be examined. Comparison of the financing practices of subscriber-funded, linear, HBO, and nonlinear Netflix ground the analysis.
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Spicer, Andrew. "A Regional Company? RED Production and the Cultural Politics of Place." Journal of British Cinema and Television 16, no. 3 (July 2019): 273–304. http://dx.doi.org/10.3366/jbctv.2019.0478.
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This article explores the significance of RED Production's location in the north-west of England, analysing the complexities of its positioning as a ‘regional’ company contextualised within the broader issues surrounding regional television production created by the politics and regulation of UK broadcasting. The article contends that recent analyses of creative clusters have privileged economic factors over cultural ones and provides a counter argument that demonstrates the importance of historical evolution and cultural traditions in understanding why RED has been so successful. It examines the significance of an anti-metropolitan discourse of northernness as a broad cultural tradition that shapes RED's identity and production strategy, and, more specifically, the profound legacy of the Manchester-based Granada Television. The article explores the reasons for and consequences of RED's move to MediaCityUK in 2013 and its acquisition by the European conglomerate Studiocanal. It also discusses the ongoing problem of the vexed relationship between London and the regions in British broadcasting, and the impact of an increasingly international orientation on how television production companies position themselves in a changing marketplace.
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Clarke, D. B., and M. G. Bradford. "Competition between Television Companies for Advertising Revenue in the United Kingdom: The Independent Television Regions Prior to Deregulation." Environment and Planning A: Economy and Space 24, no. 11 (November 1992): 1627–44. http://dx.doi.org/10.1068/a241627.
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This paper provides a contribution to the geographies of advertising and the media. The authors examine the ways in which commercial television companies try to attract advertising to their regions; advertising being their main source of revenue. Competition based on the cost of advertising in particular regions is effectively restricted. This market failure results in regionally uneven allocations of advertising money, and hence an uneven regional pattern of TV company revenues. Other forms of competition are used to attempt to change this. TV companies promote their regions to advertisers and advertising agencies in ways varying from the production of ‘hard’ data to full-blown campaigns designed to promote or alter regional ‘images’. They also provide various services and cost incentives. It is argued that the deregulation of commercial television, which introduces intraregional competition, will not correct the market failure and will, if anything, reinforce the uneven allocation of advertising monies and media revenues. It is also suggested that intraregional competition will reduce regional promotion, the main competitive strategy that has been used to try to offset regional differences.
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Stockmann, Daniela. "Greasing the Reels: Advertising as a Means of Campaigning on Chinese Television." China Quarterly 208 (December 2011): 851–69. http://dx.doi.org/10.1017/s0305741011001032.
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AbstractThis article examines a major change in campaigning through the means of mass media during the reform era. As the media commercialized and partially privatized, the state has tried increasingly to involve societal actors in the production of public service advertisements (PSAs) on television. Today, PSA campaigns are initiated by state and Party units, but their funding, production and broadcasting is made possible by a collaborative effort between broadcasters, advertising companies and commercial enterprises who voluntarily support their further development. I conducted 27 in-depth interviews with officials, broadcasters and producers in Beijing to tap into the policy rationale behind the use of public service advertisements in campaigning and the incentive structure facilitating collaboration between companies and state units. Interviews with judges of PSA competitions and content analysis of price-winning advertisements reveal the standards of the central government to employ public service advertising as a means of campaigning.
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Rastiya, Asty, and Hendriyani. "The impact of citizen journalism engagement in Indonesian television on citizen journalists and society: A case study of the NET Citizen Journalist (NET CJ) programme." Journal of Digital Media & Policy 11, no. 1 (March 1, 2020): 65–80. http://dx.doi.org/10.1386/jdmp_00012_1.
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Citizen journalism in television in Indonesia has flourished in the past decade, with two national commercial companies broadcasting citizen programme on occasion and three stations engaging in ongoing citizen journalism initiatives. This article uses a case study of Indonesia’s NET Citizen Journalist (NET CJ) programme to study perspectives of citizen journalists about the impact of citizen journalism in television on themselves and their society. Surveys and interviews with active CJ members indicated that collaboration between citizen journalists and television networks democratizes information by allowing a wider range of people to share information and perspectives, and drives positive changes in citizen’s surroundings and self-development in terms of knowledge and skills in news video production. However, potential negative side-effects are the high risk of being sued by injured parties and dissatisfaction about limited opportunities to have community videos broadcast on television.
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Pajala, Mari. "Laulukilpailusta show-kilpailuksi?" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (April 26, 2021): 9–32. http://dx.doi.org/10.23994/lk.107814.
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Eurovision laulukilpailua koskevaa tutkimusta on ilmestynyt melko runsaasti 2000-luvulla, mutta televisioestetiikkaan ja -tuotantoon liittyviä kysymyksiä on tutkimuksessa tarkasteltu vain vähän. Tässä artikkelissa tartun usein esitettyyn ajatukseen, että Eurovision laulukilpailussa korostuvat nykyisin entistä enemmän visuaalisuus ja spektaakkeli. Kysyn, miten euroviisukappaleiden audiovisuaalinen näytteillepano on kehittynyt ohjelman historian aikana ja millaiseksi tuotannon luonne on kehittynyt 2000-luvulla.Artikkelin pääasiallinen tutkimusaineisto koostuu ensinnäkin vuosien 1960, 1970, 1980, 1990 ja 2000 Eurovision laulukilpailuista, joita analysoimalla luon kuvan kilpailukappaleiden audiovisuaalisen esillepanon kehityksestä. Toiseksi käytän vuosien 2016–2019 Euroviisujen tuotantotietoja aineistona rakentaessani kuvaa laulukilpailun nykytuotannosta. Esitän, että euroviisuesityksille on aina pyritty rakentamaan kappaleen tyyliin sopiva visuaalinen ilme. Teknologinen kehitys ja kilpailun sääntömuutokset ovat kuitenkin mahdollistaneet entistä vaihtelevammat ja monimutkaisemmat esitykset. Suurimuotoisen tv-spektaakkelin rakentaminen edellyttää yhteistyötä eri maista tulevien ammattilaisten ja yritysten kesken, ja nykyiset Eurovision laulukilpailut ovatkin ylirajaisia tuotantoja. Samat televisioalan ammattilaiset ja yhtiöt osallistuvat kilpailun tuotantoon eri maissa. Lisäksi kansalliset delegaatiot palkkaavat ylirajaisesti työskenteleviä ammattilaisia suunnittelemaan kilpailuesityksiään. Eurovision laulukilpailun tuotantoon on myös muodostunut eräänlainen alueellinen hierarkia, jossa Pohjois-Eurooppa on johtavassa asemassa erityisesti Ruotsin television SVT:n ja ruotsalaisten ammattilaisten keskeisen roolin ansiosta.Avainsanat: Eurovision laulukilpailu, televisioestetiikka, televisiotuotanto, spektaakkeli, ylirajaisuus
From a song contest to a show contest? The increasingly transnational production of television spectacle in the Eurovision Song ContestAlthough academic interest in the Eurovision Song Contest (ESC) has grown over the past two decades, research has only rarely focused on television aesthetics and television production. The article explores the common claim that the contemporary ESC places more and more emphasis on visual spectacle. The article asks, how has the audiovisual presentation of Eurovision entries developed over the course of the contest’s history, and how can we characterize the production of the contemporary ECS?The primary research material consists of, firstly, ESC broadcasts from 1960, 1970, 1980, 1990, and 2000. These are analysed to describe the historical development of the audiovisual presentation of Eurovision entries. Secondly, the article draws on production information for ESC 2016–2019 to gain an understanding of the scope of the contemporary production.The article argues that ESC producers have always aimed at creating visually varied performances that suit the style of each song. However, changes in technology and the contest’s rules have enabled increasingly complex performances. As a result, creating the contemporary ESC requires using creative and technical personnel across national borders, and many of the same television professionals and companies participate in the production year after year. Moreover, successful stage directors work transnationally, designing Eurovision performances for different countries. Thus, the ESC participates in a wider turn towards transnational production in European television culture. The transnational field of ESC production is not without hierarchies, as Northern Europe plays a central role in the development of the contest, thanks to strong input from Swedish television SVT and Swedish television professionals in particular.Keywords: Eurovision Song Contest, television aesthetics, television production, spectacle, transnational
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Vinogradova, Ekaterina. "Latin American TV Series as the Channel for Intercultural Communication with Europe." Contemporary Europe 99, no. 6 (November 1, 2020): 112–18. http://dx.doi.org/10.15211/soveurope62020112118.
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The study of intercultural communication within large cultures is particularly relevant in the 21st century in an era of globalization. Nowadays, thanks to the development of new information channels, such as social networks, as well as public diplomacy, branding of culture and art, popularization of national cultural traditions has become an integral part of the cultural diplomacy of Latin American countries. Despite globalization that has led to the global hybridization of television production, Latin American television series still retain the characteristics of unique products, introducing the foreign viewer to the culture and traditions of the Latin American region. In the 21st century, leading Latin American TV companies have changed the content of TV series aimed at different groups of target audiences. Social topics related to inequality, the emergence of civil society, problems of young people, and criminalization of society have found their way beyond the Latin American continent and have received a strong response in European countries. The Netflix site has become an important communication channel for Latin American television serial products. Television series, as the main marketing product of the leading Latin American media conglomerates, have contributed to the development of intercultural communication with European target audiences, where Latin American television stations have found similar social and cultural features and have become a kind of brand of this television genre. The popularity of Latin American serial products in Europe is due to the emergence of hybrid series and joint Latin American-European production of this type of entertainment television products. The article explores the stages of Latin American TV series' distribution in European countries and their impact on intercultural communication between Latin America and Europe.
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Nikunen, Kaarina. "The Intermedial Practises of Fandom." Nordicom Review 28, no. 2 (November 1, 2007): 111–28. http://dx.doi.org/10.1515/nor-2017-0213.
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Abstract The article1 discusses formations of fan cultures in terms of intermediality. It examines the construction and consumption of media in three different Finnish fan groups: the fans of Xena: The Warrior Princess (XWP), fans of Ally McBeal and the fans of Finnish TV-host Marco Bjurström. The construction of intermedial relations of each fan group interestingly reveals the institutional and technological spaces of shaping the pleasures of media. The intermedial relations of researched fan groups vary according to a traditional use of media to a use of new media. The intermedial relations in XWP fan culture were produced mainly between television and the Internet. This intermedial connection provided space for fans’ self-definition, community and fan production. Intermedial relations in the case of Ally McBeal were encouraged by the media companies between television and tabloid papers as well as between television and the Internet depicting the show as topical and trendy. However audiences were mostly engaged with only television and Ally McBeal didn’t nurture multiple uses of media. Again in the case of Bjurström, the relation between television and tabloids and the particular portrait type of media coverage constructs this fandom as a traditional star-fan relationship.
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Klein-Shagrir, Oranit, and Heidi Keinonen. "Public Service Television in a Multi-Platform Environment." Convergent Television(s) 3, no. 6 (December 24, 2014): 14. http://dx.doi.org/10.18146/2213-0969.2014.jethc066.
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Cultural and economic transformations have encouraged television companies to turn their attention to multi-platform practices so as to increase their compatibility with the changing media environment. While digital media provide public service broadcasting (PSB) institutions with new opportunities for meeting their public commitments and maintaining their relevance in national media systems, PSB is also faced with additional challenges. One of these is the tension between public service values on the one hand and digital technologies and practices on the other. In this article we discuss how Finnish and Israeli PSB managers and producers perceive the opportunities and challenges of multi-platform production. In both countries public service broadcasting is striving for public legitimacy and relevance in a changing technological environment. However, the two countries currently find themselves at quite different stages: Israel has a struggling public service agency, while Finland boasts a strong broadcasting company.
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Siuda, Piotr, and Marek Troszynski. "Natives and tourists of prosumer capitalism: On the varied pro-prosumer activities of producers exemplified in the Polish pop culture industry." International Journal of Cultural Studies 20, no. 5 (August 25, 2016): 545–63. http://dx.doi.org/10.1177/1367877916666117.
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This article pertains to the concept of prosumer capitalism, a term which refers to practices among companies of using consumers’ unpaid work (prosumption refers to the mixing of consumption and production). In the literature, this type of capitalism has been treated generally; how pro-prosumer activities differ among producers has been overlooked. This article illustrates these differences by showing the ways in which Polish pop culture producers approach prosumption. The research was conducted through in-depth interviews with representatives from different Polish popular culture companies and the results show that prosumption orientation is determined by what is being produced – films, games, comics, books, television programmes, or music. Producers of video games and comics are most prosumption-oriented – in other words, they may be called ‘natives’ of prosumption – in contrast to ‘tourists’, such as producers of films, television programmes, and books. This article shows that developing the concept of prosumer capitalism requires that consideration as to the prosumer orientations of producers should be specified on a case-by-case basis.
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Sakr, Naomi. "Provision, protection or participation? Approaches to regulating children’s television in Arab countries." Media International Australia 163, no. 1 (March 9, 2017): 31–41. http://dx.doi.org/10.1177/1329878x17693933.
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Free-to-air channels for Arabic-speaking children expanded alongside the emergence of a few Arab national regulatory agencies with varying degrees of independence from government and powers that could potentially influence children’s channels. Even so, the rationales that inform production and acquisition of children’s screen content in the region remain far from transparent, beyond rhetoric about protecting children from material that ‘breaches cultural boundaries and values’. Drawing on theoretical literature that highlights regulation’s effect on policy, and links the principles of provision, protection and participation in relation to children’s media, this article compares regulatory discourses and practices revealed in the documents and speeches of Arab regulators, broadcasters and independent production companies. It finds that, with some exceptions, only the latter advocate measures that look beyond a narrow interpretation of ‘protection’. A dominant consensus around the narrow vision seems to stand in the way of developing more stimulating approaches to regulation.
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Raats, Tim. "The Resilience of Small Television Markets to COVID-19: the Case of Lockdown." Baltic Screen Media Review 8, no. 1 (December 1, 2020): 82–89. http://dx.doi.org/10.2478/bsmr-2020-0008.
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Abstract This article presents a case study of Lockdown, an anthology series developed by two production companies under strict COVID restrictions in Flanders, centred on a prison visiting space. Every episode is written and directed by different screenwriters and directors. The case study clearly shows how a combination of creativity of Flemish independent producers, a felt need to counter the damaging effects of COVID on Flemish audio-visual industries, and the need to produce under strict hygienic and social distancing rules, resulted in a unique creative concept, that, ironically, might not have been achievable under normal circumstances. The analysis shows that the smallness of the Flemish market, which over the past decades resulted in an industry dynamism characterized by improvisation, voluntarism, high dependency on collaboration and short term financial planning, is precisely what might have provided the ideal backdrop for the production of this unique series.
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Klomp, Mirella. "Staging the Resurrection." International Journal of Public Theology 9, no. 4 (October 30, 2015): 446–64. http://dx.doi.org/10.1163/15697320-12341416.
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This article looks at the particular ways in which the resurrection of Christ was staged in the public domain during four editions of a popular musical event named The Passion. Since its first edition in 2011, this annual performance on the suffering, death and resurrection of Jesus Christ has become a large media event in Dutch society. The author argues that its organizers—a television production company and two broadcasting companies—in their annual choices on how to shape and stage The Passion, make theological choices. Moreover, she argues that the staged theology of the organizers is to be considered a form of public theology. Pointing out that authority in late-modern network culture is subject of change, the author reveals how the production and broadcasting companies by organizing and actualizing a passion both prove themselves a leading party in the actualization of Christian tradition and turn up as players in the field of public theology.
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Vanlee, Florian, Frederik Dhaenens, and Sofie Van Bauwel. "LGBT+ televisibility in Flanders: The presence of sexual and gender diversity in Flemish television fiction (2001-2016)." DiGeSt - Journal of Diversity and Gender Studies 7, no. 1 (June 12, 2020): 5–22. http://dx.doi.org/10.21825/digest.v7i1.16507.
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Fictional representations of LGBT+ people offer a way to study how socio-cultural discourses on sexual and gender identity are reflected in popular culture. Notwithstanding the fact that particular contexts play a pivotal role in this dynamic, queer television theory currently derives exclusively from U.S. cases. With a quantitative analysis of LGBT+ characters in Flemish television fiction between 2001 and 2016, this study provides a descriptive framework to engage with the representation of sexual and gender diversity in a different context. Firstly, the study establishes the prominent presence of LGBT+ characters in Flemish television fiction. It shows that differences between Flemish public and commercial fiction content are negligible, but that discrepancies between genres are significant. The scarcity of sexual and gender diversity in externally produced ‘quality’ fiction, moreover, suggests a need for channels to formulate stricter expectations to production companies. Concerning individual characters, the study points to an overrepresentation of gay male characters, a lack of LGBT+ characters of color and the pervasiveness of gender conformity. Closer analysis, on the contrary, reveals a disarticulation of Flemings of color from homophobic violence, and the recasting of gender non-conformity on straight characters. This suggests a critical, self-reflexive awareness of stereotyping in fiction production. Accordingly, the findings of this study offer a point of departure for qualitative engagements with LGBT+ televisibility in Flanders. The data presented should not be conceived of as a finality, but as a necessary framework to internationalize and diversify the study of sexual and gender diversity on television.
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Sarabia Andúgar, Isabel, and Josefina Sánchez Martínez. "La figura de la Film Commission en la puesta en valor de los recursos audiovisuales técnicos y profesionales de un territorio en España." Tourism and Heritage Journal 1 (September 25, 2019): 113–32. http://dx.doi.org/10.1344/thj.2019.1.7.
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The interest in turning a territory into a setting for the filming of cinematographic audiovisual productions, television series or any other type of audiovisual product, constitutes the main engine of the start-up of a Film Office or Film Commission in any locality, region, province or region.The mission of a filming office is to highlight, not only the benefits of landscapes, monuments, climate of a territory or the ability of its people to host filming equipment (logistics, predisposition of citizens), but also to give visibility to the technical and human audiovisual resources with which a shooting team arrived in a locality could count on in that environment.This research aims to study the figure of the Film Commission and its contribution to the dynamization of production in a territory through the enhancement of the local audiovisual sector -companies and specialized technicians- as an attractiveness of the territory.
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Kang, Jennifer M. "Just another platform for television? The emerging web dramas as digital culture in South Korea." Media, Culture & Society 39, no. 5 (May 15, 2017): 762–72. http://dx.doi.org/10.1177/0163443717709442.
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Web dramas, which are original serialized dramas that are released primarily on online platforms, are a recent development of digital content in South Korea. As web dramas are intended for mobile viewing environments, this study examines how distribution influenced this emerging form. Particularly, it argues for the consideration of the power of distribution, which does not happen as an afterthought or separate from other areas, but can wield influence on the production, finances, and other business practices of web dramas. Audiences are envisioned as viewing web dramas on the go, so web dramas were only several minutes per episode with simple storylines to maintain the audiences’ attention. The insufficient revenue policy of the existing platforms have led web dramas to seek other alternatives within traditional media structures, where they are positioned primarily as another platform for television industries to explore or rely on the branded entertainment strategy, catering to the business sponsors’ demands. In the recent times, newer platforms and production companies specializing in web dramas have appeared, and this article concludes that there is still the potential for web dramas to independently establish themselves as a new digital form in the future.
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Bennett, James, and Andrea Medrado. "The Business of Multi-Platform Public Service: Online and at a Profit." Media International Australia 146, no. 1 (February 2013): 103–13. http://dx.doi.org/10.1177/1329878x1314600114.
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In this article, we explore the notion of hybrid public service media (PSM) in relation to two interconnected issues: economic and platform hybridity. We examine the creation of PSM content by privately owned, commercially driven independent production companies in the United Kingdom as a hybrid economic arrangement. In so doing, we ask not only whether public service can act as a motivation beyond profit for production cultures and business models, but also whether PSM can be created at a profit without compromising the fulfilment of public service values. In relation to platform hybridity, we study examples of interlinking public service content created, delivered and distributed across multiple platforms (as opposed to merely video-on-demand services). In particular, we are interested in how such multi-platform texts might fulfil public service, but also the way in which multi-platform content creation brings together digital and television production cultures to produce hybrid PSM business models and cultures.
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Trindade Duarte, Diana, David Barbosa de Alencar, Alexandra Priscilla Tregue Costa, and Antônio Estanislau Sanches. "Reducing Process Setup in a Smart TV Card Factory." International Journal for Innovation Education and Research 7, no. 11 (November 30, 2019): 103–12. http://dx.doi.org/10.31686/ijier.vol7.iss11.1861.
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Companies are looking for new ways to carry out their processes automatically and accurately. Thus, the machines that are part of the process need to be stopped, called setup, so that they are prepared to continue producing other products on the production line. This work was developed with the main objective of showing the effect of reducing the setup time in a television factory, and as specific objectives to present the concept of Fast Tool Change; present the negative effects of a production that has a lengthy setup; punctuate the benefits of reducing setup time in a factory. The methodology used is focused on exploratory research where it was necessary to visit the production line of a 32 ", 42", 50 "and 55" Smart TV board manufacturing company, in order to apply the data collection instruments. To verify the failures resulting from the shutdowns and the problems that are related to the production setup time, quality tools such as Ishikawa Diagram, 5W2H and before and after study flowchart were used. As expected results, the company was able to reduce machine preparation delays, batch delays became minimal.
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Luthfi, Alexandri. "Pendidikan Seni Film dan Televisi Menjadi Penggerak Industri Ekonomi Kreatif." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 2 (February 21, 2018): 99. http://dx.doi.org/10.24821/rekam.v13i2.1933.
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Globalisasi, sebagai suatu proses integrasi internasional, terjadi karena pertukaran pandangan dunia dalam berbagai sektor. Di Indonesia gelombang globalisasi sudah bergerak lebih dari 25 tahun. Tumbuh dan berkembangnya memberikan pengaruh terhadap berbagai sisi kehidupan bangsa dengan semua atribut budayanya. Di bidang pendidikan, globalisasi memiliki dampak yang cukup besar bagi perubahan pada sistem atau model pembelajaran dan kurikulum yang diajarkan. Era industri kreatif yang digulirkan oleh pemerintah melalui Menteri Perdagangan RI waktu itu masih dijabat oleh Dr. Mari Elka Pangestu, telah memberikan peluang seluas-luasnya bagi pendidikan tinggi seni agar dapat berfungsi sebagai salah satu pilar bagi pertumbuhan ekonomi kreatif di Indonesia.Indonesia sudah memiliki kantong-kantong institusi dan perusahaan yang dapat menjadi mitra bagi para lulusan pendidikan seni. Para talenta yang kreatif dan terampil lulusan pendidikan seni adalah sumber daya manusia yang diperlukan bagi sektor industri kreatif di masa mendatang. Karya film dan program acara televisi sebagai karya seni yang memiliki standart estetika, di dalamnya terdapat gagasan, pengolahan artistik, matrialisasi, pengalaman teknik dan manajemen produksi, yang proses produksinya membutuhkan sekelompok atau individu sumberdaya manusia berkualitas dengan tingkat pendidikan setara diploma dan sarjana. Kemudian juga dengan televisi apabila sudah masuk ke dalam rana industri kapitalis, tentu akan berdampak pada bagi masyarakatnya, seperti yang dijelaskan oleh Redatin Parwadi untuk menciptakan perilaku konsumtif bagi konsumennya inilah, televisi mempunyai peran yang sangat penting baik sebagai media ataupun sebagai alat bagi kaum kapitalis untuk mengkonstruksi pikiran konsumen. Sejalan dengan konsep HAKI yang melindungi kualitas karya cipta anak bangsa dari originalitas dan eksistensinya, tentu lembaga pendidikan seni memiliki peran penting di dalam melahirkan sumberdaya manusia yang mampu menghasilkan karya seni kreatif dan inovatif. Maka dewasa ini, di Indonesia sudah saatnya menerapkan konsep pendidikan multikulturalisme berbasis budaya lokal yang dapat menjadi salah satu alternatif untuk membangun kearifan lokal menuju kebudayaan dunia. Art Education of Film and Television as Actuation in the Creative Economy Industry for the Lecturers of Television Department, Faculty of Recorded Media Arts ISI Yogyakarta. Globalization, as a process of international integration, occurs because there is an exchange of the world’s view in some sectors. In Indonesia, the wave of globalization has been ongoing for more than 25 years. Its growth and development have given influence to all aspects of nation’s life with its cultural attributes. In education, globalization has a quite big impact for the shift of system or learning model and the taught curriculum. The era of creative industry launchedby the government through the Indonesian Minister of Trade which was once held by Dr. Mari Elka Pangestu, has now given a vast opportunity for higher education in art to be one of the pillars for the growth of creative economy in Indonesia. Indonesia has certain institutions and companies that could be partners for the graduates of art school. Creative talents andskillful graduates from art school are the necessary human resources for creative industry sector in the future. Films and television programs as works of art which has standardized aesthetics, therein we could find ideas, artistic process, materialization, technique and production management experience, whose production processes need a group of people or qualified human resources holding diplomas of bachelor degree and bachelor of honors or those in equivalence. When television is admitted into capitalist’s industry, it will affect the society, as stated by Redatin Parwadi, to create a consumptive behavior for the consumers,television has an important part both as media and as means for the capitalists to construct the mind of the consumers. In accordance with the concept of HAKI (intellectual rights) to protect the quality of copyrights owned by the nations’ generation with their originality and existence, higher education of arts has a very significant role in creating human resources who are able to create creative and innovative works of art. Nowadays, Indonesia has already applied multiculturalism education concept on the basis of local wisdom that could be one ofalternatives to build local wisdom into world’s culture.
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Lopera-Mármol, Marta, and Manel Jiménez-Morales. "Green Shooting: Media Sustainability, A New Trend." Sustainability 13, no. 6 (March 10, 2021): 3001. http://dx.doi.org/10.3390/su13063001.
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Research on media sustainability has a long tradition of criticising climate change and environmental issues, mainly through content, and while it is important to do so, it seems that the sector is oblivious to the impact that it itself generates. Moreover, sustainability is often (and wrongly) only related to environmental impact, and very little research exists on how the audio-visual sector can be sustainable not only from an environmental standpoint, but also from a socio-cultural and economic one. This article constitutes a relatively new area that has emerged from the notion of Green Shooting, a term used to describe all the practices ranging from the pre-production, production and post-production to the publicising of an audio-visual product: Documentary, television series (including those of streaming platforms), videogame, film, festival or an advertisement. There has been little previous evidence of an academic article that brings together all the practices that several companies and initiatives worldwide have already implemented as emerging solutions to mitigate their impact, including new roles such as eco-assistant. The authors aim to develop an overarching theoretical framework of what already exists in the practical field, and make it available to the academic community.
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Sawtell, Louise, Stayci Taylor, and Helen Jacey. "An interview with Helen Jacey." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 2 (June 14, 2017): 14–18. http://dx.doi.org/10.31165/nk.2017.102.503.
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Dr Helen Jacey is a screenwriter and script consultant, and teaches scriptwriting at Bournemouth University, UK. Her research interests include creative and critical approaches to screenwriting, screenwriting and gender, and screenwriting genre theory. Her book The Woman in the Story: Writing Memorable Female Characters (2010) was the first screenwriting guide for writers developing female driven projects. As a professional writer, she has written numerous film, television and radio projects for UK, US and European production companies and is currently developing a series of crime fiction novels, Elvira Slate Investigations. She is a story consultant for international filmmakers and film agencies.Editors Louise Sawtell and Dr Stayci Taylor asked Dr Jacey a series of questions relating specifically to the themes explored by the special issue: gendered practices, processes and perspectives in screenwriting. The following are the insights generously offered by this leader in the field.
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Witek, Michał. "The changing face of the “Yellow Peril” — representations of Asians and Asian Americans in the context of the “streaming revolution” in the United States." Prace Kulturoznawcze 24, no. 4 (January 10, 2021): 15–31. http://dx.doi.org/10.19195/0860-6668.24.4.2.
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The aim of this article is a critical analysis of the changing landscape of American streaming and post-network television content offer in the context of Asians’ and Asian Americans’ representations. The focus of this analysis is primarily on the stereotypes — the mechanisms behind their construction and deconstruction, and their role in the shaping of the popular image of Asians and Asian Americans. The secondary goal is the attempt to show how the culturally constructed Other is constantly present in the common imagination of the TV and cinema audience, and how this construct influences production companies, audiences, and showrunners in the USA. The question of the postulated “change” in the representation of Asian and Asian Americans, and their visibility remains open for further debate. However, I have attempted to restrict it to the model example of two series over the past twenty years.
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Almeida, Fernando, and José Augusto Monteiro. "The Response of National and Local Portuguese Government Authorities to COVID-19." HOLISTICA – Journal of Business and Public Administration 11, no. 3 (December 1, 2020): 1–10. http://dx.doi.org/10.2478/hjbpa-2020-0028.
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AbstractCOVID-19 has caused in Portugal an enormous economic, financial, and social challenge that must be answered by the national and local Portuguese government authorities. Several support measures have been launched to protect businesses, economic sustainability, and employment levels. At the national level, projects with greater economic emphasis are highlighted, which aim to support companies and their workers. The most noteworthy are measures relegated to simplified lay-off, social protection for individuals in isolation or with illness, and support for the payment of basic expenses such as electricity, water, and gas. Also, on this level, measures concerning teleworking and school at home through television have changed the daily lives of families. At the local level, there was a greater emphasis on the social dimension. The role played by local authorities and local councils in stimulating the local business community and supporting the creation of volunteer banks, the delivery of food and medicines, and the production of goods for individual protection was highlighted.
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KUZMINSKA, Yuliia M., Tetiana O. YEVTUKHOVA, Elina O. VASYLKONOVA, Dmytro I. BEDRII, Tetiana P. RIEPNOVA, and Oleg V. ZAKHARCHENKO. "Economic and Parametric Approach to the Creation and Functioning of the Advertising Project." Journal of Advanced Research in Law and Economics 11, no. 2 (March 31, 2020): 466. http://dx.doi.org/10.14505/jarle.v11.2(48).19.
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Today, development is an integral part of the life of any company, including advertising. A distinctive feature of project-oriented companies is that they implement development activities through projects and programs, as well as apply a project approach to the implementation of current production advertising activities. Speaking of advertising, one should not forget that in the event of advertising on computer networks has become commonplace. Network advertising is not inferior to television, radio, or newspaper. With us, advertising on the networks is a new thing. In this study, it is accepted that during the entire life cycle, the advertising company/business develops either along the path of progress or the path of regression (the second half of the life cycle). For example, for a multidisciplinary company, some advertising businesses, reducing the size of existing advertising businesses, restructuring, etc., i.e. measures of regressive nature, can be aimed at positive qualitative changes – for better adaptation to the market, for higher competitiveness due to faster response to changes in the environment and etc. Thus, the entire life cycle of the company is a process of development, which is provided in the form of a sequence of advertising projects and programs of development of advertising business. And today, many companies, including the advertising industry, can be identified as project-oriented.
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Hidalgo-Marí, Tatiana, Jesús Segarra-Saavedra, and Patricia Palomares-Sánchez. "In-depth study of Netflix’s original content of fictional series. Forms, styles and trends in the new streaming scene." Communication & Society 34, no. 3 (May 31, 2021): 1–13. http://dx.doi.org/10.15581/003.34.3.1-13.
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This article presents an analysis of the original content of fictional series created by one of the leading companies in the streaming television market, Netflix. This work aims at offering an in-depth study of the original series of the company Netflix, which will allow to classify these contents according to their strategic nature and, secondly, to offer a formal taxonomic overview on them. In addition, their forms, formats, languages, genres and thematic descriptors are analysed in order to establish a taxonomy for the classification of Netflix’s original content. To this end, this article is based on a quantitative method with qualitative contributions, adopting a descriptive but also exploratory approach. Its sample is made up of 490 series available on the Spanish version of the platform from its beginning in 2013 to 2019. The results lead to find a commitment to the production of fictional series with a global nature, but also focused on the local through alliances and productive methods with local businesses. Furthermore, the importance of in-house production as a present and medium-term future strategy is highlighted, together with the commitment to the division of production languages, considering local languages as a resource for the acceptance of the products. As for the predominant formats, a new trend marks how new audiovisual products are created by focusing, among other things, on reducing the duration and longevity of the series broadcast by the company.
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Holova, I. "SOME ASPECTS IN CALCULATING THE AMOUNT OF DAMAGES FOR VIOLATION OF RELATED RIGHTS." Criminalistics and Forensics, no. 64 (May 7, 2019): 784–91. http://dx.doi.org/10.33994/kndise.2019.64.73.
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The article discusses the methodology for calculating the amount of material damage that is inflicted on the owners of related rights to distribute television programs (television companies and individuals who have acquired exclusive and non-exclusive property rights to distribute television programs). The legislative framework for economic examinations in the field of intellectual property is analyzed. The main cases of calculating the amount of damages depending on the category of the owner of related rights to broadcast TV channels are given. The calculation of the amount of material damage for the violation of related property rights to broadcast television channels is carried out for the period proven, as part of investigative actions, the time of violation. Usually, economic expertise in the field of intellectual property is preceded by a number of technical examinations, which are carried out by experts in the field of telecommunications in order to confirm the fact of illegal broadcasting of TV channels. According to paragraph 26 of the National Standard № 4 «Evaluation of Intellectual Property Rights», the amount of damages for illegal use of an object of intellectual property rights is determined as of the valuation date using the valuation procedure for accumulating profit (income) that the subject of the intellectual property right did not receive and / or the licensee, as a result of the illegal use of the object of intellectual property rights and, based on the volume of production and / or sale of counterfeit products. Now, in the field of broadcasting, the main media groups enter into licensing agreements for broadcasting with legal entities that represent their interests and conclude sublicensing agreements on their own behalf. They are of two types – with the transfer of an exclusive license to distribute programs using DVB-C / MITPIC / MMDS / TELESELO / analog network, IPTV, OTT and DTH and a non-exclusive license to distribute programs using DVB-C / MITPIC / MMDS / TELESELO / analog network, IPTV, OTT and DTH. In the case of the transfer of exclusive property rights to calculate the amount of material damage, the author considers it expedient to obtain information from the investigation (by sending a corresponding petition) under similar sub-licensing agreements with other providers, which are “similar” to the so-called company-violator. Consequently, the amount of material damage caused to the owner of related property rights, as a result of an illegal broadcast, is calculated as an arithmetic average of the amounts of similar sublicensing contracts, that is, using the procedure of income accumulation. If a legal entity applies to law enforcement agencies that owns non-exclusive proprietary rights to distribute programs using DVB-C / MITPIC / MMDS / TELESELO / analog network, IPTV, OTT and DTH, then Art. 1108 of the Civil Code of Ukraine “A non-exclusive license does not exclude the possibility for the licensor to use an object of intellectual property rights in an area that is limited by this license and to issue licenses to others to use this object in this area” So, according to the author, a legal entity that owns non-exclusive property rights does not bear material damage. Key words: exclusive license, nonexclusive license, material damage.
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Samaras, Evanthia. "Futureproofing Visual Effects." International Journal of Digital Curation 16, no. 1 (August 15, 2021): 15. http://dx.doi.org/10.2218/ijdc.v16i1.689.
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Digital visual effects (VFX), including computer animation, have become a commonplace feature of contemporary episodic and film production projects. Using various commercial applications and bespoke tools, VFX artists craft digital objects (known as “assets”) to create visual elements such as characters and environments, which are composited together and output as shots.
While the shots that make up the finished film or television (TV) episode are maintained and preserved within purpose-built digital asset management systems and repositories by the studios commissioning the projects; the wider VFX network currently has no consistent guidelines nor requirements around the digital curation of VFX digital assets and records. This includes a lack of guidance about how to effectively futureproof digital VFX and preserve it for the long-term.
In this paper I provide a case study – a single shot from a 3D animation short film – to illustrate the complexities of digital VFX assets and records and the pipeline environments whence they are generated. I also draw from data collected from interviews with over 20 professional VFX practitioners from award-winning VFX companies, and I undertake socio-technical analysis of VFX using actor-network theory. I explain how high data volumes of digital information, rapid technology progression and dependencies on software pose significant preservation challenges.
In addition, I outline that by conducting holistic appraisal, selection and disposal activities across their entire digital collections, and by continuing to develop and adopt open formats; the VFX industry has improved capability to preserve first-hand evidence of their work in years to come.
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Castellvi, César. "Les Clubs de presse au Japon." Sur le journalisme, About journalism, Sobre jornalismo 8, no. 2 (December 20, 2019): 124–37. http://dx.doi.org/10.25200/slj.v8.n2.2019.406.
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FR. En partant de l’analyse des clubs de presse japonais, cet article porte sur le rôle joué par les entreprises médiatiques dans les relations des journalistes aux sources institutionnelles. En tant que principale forme d’accès aux sources, les clubs de presse (kisha kurabu) sont des rassemblements de reporters accrédités aux institutions majeures de la société (ministères, administrations, grandes entreprises, commissariats). Ils se distinguent d’autres formes d’associations de journalistes par leur présence systématique à l’ensemble du pays ainsi que par leur modalité d’accès. Seuls les reporters salariés d’une entreprise de la presse quotidienne ou d’une chaîne de télévision peuvent y adhérer. Cela écarte les autres segments de la profession et impose une division du travail où les reporters salariés disposent seuls de l’exclusivité sur la production d’informations institutionnelles. Ce système, souvent critiqué, mais toujours en place, s’explique également par l’organisation des carrières des journalistes. Les parcours des reporters salariés se déroulent en interne des entreprises et sont soumis à une forte mobilité thématique et géographique. Cette mobilité rend difficile l’entretien d’un carnet d’adresses pour beaucoup d’entre eux. L’accréditation aux clubs joue le rôle de facilitateur de mise en relation avec les sources. En contrepartie, il renforce la dépendance des journalistes vis-à-vis des entreprises qui sont les véritables propriétaires de l’accès à la matière première de l’information.
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EN. Based on an analysis of Japanese press clubs, this paper examines the role of media companies in journalists' relations with institutional sources. Press clubs (kisha kurabu) consist of reporters accredited by the major institutions of society (ministries, administrations, large companies, police stations) and are the main avenue of access to these sources. They differ from other journalists' associations in their systematic presence throughout the country and how one becomes a member. Only reporters employed by a daily press company or television channel can join. This bars access by other segments of the profession and imposes a division of labor in which staff reporters have the exclusive right to produce institutional news. This system is often criticized, and yet it persists, at least in part because of the career path of journalists, which takes place within companies and are subject to high thematic and geographical mobility. This mobility makes it difficult for many of them to maintain a roster of sources. Club membership facilitates connection with sources. In return, it reinforces journalists' dependence on companies that are the true gatekeepers of access to the raw material of news.
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PT. Partindo da análise dos clubes de imprensa japoneses, este artigo enfoca o papel desempenhado pelas empresas de mídia nas relações dos jornalistas com as fontes institucionais. Como principal forma de acesso às fontes, os clubes de imprensa (kisha kurabu) são reuniões de repórteres credenciados em grandes instituições da sociedade (ministérios, administrações, grandes empresas, delegacias de polícia). Distinguem-se de outras formas de associação de jornalistas por sua presença sistemática em todo o país e por sua modalidade de acesso. Somente repórteres que são funcionários de uma empresa de jornais diários ou de um canal de televisão podem participar. Isso exclui outros segmentos da profissão e impõe uma divisão do trabalho em que apenas os repórteres assalariados têm direitos exclusivos sobre a produção de informações institucionais. Esse sistema, frequentemente criticado, mas ainda em vigor, também é explicado pela organização de carreiras de jornalistas. As jornadas dos repórteres assalariados são realizadas internamente pelas empresas e estão sujeitas a uma alta mobilidade temática e geográfica. Essa mobilidade dificulta a manutenção de um catálogo de endereços para muitos deles. O credenciamento de clubes atua como um facilitador para o vínculo com as fontes. Em contrapartida, reforça a dependência dos jornalistas de empresas que são os verdadeiros proprietários do acesso à matéria-prima da informação.
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Alkadi, Ihssan, Ghassan Alkadi, and Mike Totaro. "Effects of Information Technology on the Business World." Human Systems Management 22, no. 3 (July 13, 2003): 99–103. http://dx.doi.org/10.3233/hsm-2003-22301.
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This paper will address the effects of Information Technology on the business world. Technology is increasingly playing a crucial role in the success of organizations in the information age. The impact of Information Technology on business has been enormous. Computers and the information they process and store have permeated every aspect of the business world. The fundamental role of Information Technology is to enable businesses to find new ways to drive down the costs of products, processes, and improve performance. We use examples from five different companies/industries to show the different and dramatic effects that IT can have on a business. The television industry is using high-speed Internet to send digital dailies from location to directors and producers in Hollywood. The use of this technology eliminates the old method of dubbing tapes and then sending them via FedEx back to L.A. General Motors has used aggressive outsourcing and web-based services to increase production time. Where it used to take up to four years to get a vehicle on the market, it now takes less than two. With new management and a greater focus on quality and customer satisfaction, an aircraft company has seen its $ 15 million in debt turn into $ 243 million in revenues. These increased revenues were attained by using new software to help it get better organized. AT&T, the once Titan of the phone industry, utilized IT to get out of debt. Specifically, AT&T used web-services to allow all of its different systems to communicate. By using new software to translate three different business processes into one usable code, Cybex International used IT to fix its supply-chain mess.
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Suprapto, Yetti Lutiyan, Amin Wibowo, and Harsono Harsono. "Intra-firm causal ambiguity on cross-functional project team’s performance." International Journal of Managing Projects in Business 11, no. 4 (September 3, 2018): 901–12. http://dx.doi.org/10.1108/ijmpb-09-2017-0109.
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Purpose The purpose of this paper is to examine the negative effect of intra-firm causal ambiguity on the project team’s performance—efficiency and effectiveness, and also examine the moderating role of openness and the integrative capabilities. Design/methodology/approach The population in this study is teams that come from a variety of companies which work with cross-functional teams or matrices, such as advertising agencies, recreational or amusement parks, television companies, production houses, radio stations, private education providers, manufacturing enterprises and IT companies. The sample population was chosen based on their tendency to form creative teams to respond to environmental/market dynamics by involving employees from different backgrounds and levels in the planning and implementation of projects. Findings As hypothesized, intra-firm causal ambiguity negatively influenced the project team’s efficiency and effectiveness, while openness moderated the effect of intra-firm causal ambiguity to efficiency, but not to effectiveness, and the team’s integrative capabilities did not moderate the above relationship. Research limitations/implications First, the sample in this study only focused on teams with creativity doing a project. Any future research is expected to focus more on the selection of sample types which also have a tendency to apply openness, and focus their activities on improving their integrative capabilities. Second, there are no data about the background experience of the members of the teams in working together on previous projects, so future studies need to discover whether that experience also affects the variables included in this study. Third, the category of the time horizon samples for the project’s implementation, which were between one month and two years, is still too wide. It may have contributed to the overlapping of the moderating effect, so future studies need the sample project’s categories to have a much narrower range (one to three months, four to six months, or one year). Fourth, the regression results for the moderating variables are partially not supported. This may relate to the characteristics of the respondents. To obtain the data and a more complete knowledge, further research can be done into creative on-going team types, such as an interior design team, a company’s production performance team and others. Practical implications A practical implication based on the research that has been done is that, when the condition of intra-firm causal ambiguity occurs, strategies to reduce the condition are needed. First, before a project starts, all the team members must understand the systemic process of the project’s resources related to the environment and the objectives. Systemic understanding of the resources system can help the team to effectively manage any causal ambiguity in the resources system. Second, referring that the higher the intra-firm causal ambiguity is, the efforts to codify the resources and the systemic process of the project should also be higher as well. So the second strategy is to codify/create tools that guide the project, in order to make it easily understandable, accessible and always up to date, over the lifespan of the project. Originality/value The results of research into the impacts of intra-firm causal ambiguity on the organizational performance are still inconsistent. Some researchers claim that intra-firm causal ambiguity has a negative effect on performance, but there are also studies that show the opposite result. This research accommodates these inconsistencies by examining the effects of a moderating variable on the impact of intra-firm causal ambiguity on a cross-functional team’s performance, in its contextual and internal aspects. The contextual aspect is represented by the openness of the team, while the team’s ability to integrate the diversity of knowledge, i.e. its integrative capability, is represented as the internal aspect.
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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.
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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.
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Hieltjes, Paul, and Erwin Hieltjes. "Implementing inbound open innovation in the CE industry. A case study of Philips-branded Televisions." Journal of Innovation Management 2, no. 1 (November 2, 2014): 69–82. http://dx.doi.org/10.24840/2183-0606_002.001_0006.
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Successful innovation requires a company to participate in open innovation and to be connected with the ecosystems around it. For consumer electronics industry, this article distinguishes knowledge, experience and legislation/certification ecosystems. In order to draw the necessary knowledge from ecosystems for inbound open innovation, companies should involve all functional areas in the gathering information and trends from the ecosystems. While most companies involve marketing, development, and production, two key areas for ecosystem knowledge gathering often remain untapped: purchasing and the participation in external standardisation bodies. Successfully using all functional areas to gather ecosystem knowledge will lead to the right innovations at the right time. Regular cross-functional meetings ensure the appropriate translation of collected information and knowledge into portfolio and development choices. The article illustrates this by the example of TP Vision, the makers of Philips-branded televisions, which has successfully applied this innovation process in the consumer electronics (CE) industry.
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Tauraitė, Vilija. "Coverage of the 2008-2009 Economic Crisis in the Media and Relationship of the Coverage to Actual Situation." Taikomoji kalbotyra, no. 14 (August 13, 2020): 50–71. http://dx.doi.org/10.15388/taikalbot.2020.14.5.
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The primary goal of this paper is to examine the coverage of the 2008-2009 economic crisis in the Lithuanian online media as well as its relationship to the actual economic situation and perception of media consumers. The theoretical basis for this research is made up of the theories of agenda-setting and framing. The coverage of the media is assessed on the basis of the corpus of economic reporting in 2006–2014 in two Lithuanian media sources, the news agency BNS and DELFI news website, by analysing the volume and the tone of the reports. The coverage in the media is then compared to some statistical economic indicators.The main findings of the paper are the following:1. The coverage of the crisis in the media reflected rather accurately the actual situation: the fluctuations of the volume of the reports largely followed the timeline of the main events of the crisis. The correlation between the reporting tone and industrial production index as a gauge of the economic situation was rather high, which supports the adequacy of the coverage. The relationship between the reporting and economic indicators was found to be stronger in the case of the BNS than in DELFI.2. Negative reports were found to be dominating over positive ones. It is partially inevitable due to the context of the crisis, but the effect of the general media negativity bias cannot be ruled out either.3. During the year of the worst economic situation, the number of the reports of both highly negative and highly positive tone increased, but the volume of the two extremes decreased with the improvement of the economic situation. This might suggest that the media was aiming to counterweight the flow of very negative news during the crisis.4. On average, the tone of the BNS news agency coverage was more positive than that of DELFI. The factors behind this trend could be the linguistic features of the reporting style (usage of intensifying modal words as well as negatively or positively image-evoking lexis) and the intention to attract attention from the audience.5. Certain asymmetry was noticed in the public reaction to the coverage of the crisis in the media as media consumers reacted more rapidly and for a longer time period to the deterioration in the reporting tone than to its improvement.6. The correlation to media coverage was stronger in the case of the consumer sentiment indicator rather than in the case of the indicator for consumer behaviour (retail trade turnover index).It should be noted that the analysis was limited to only two media channels, so the inclusion of other media channels, especially television, could make such research more informative. Further research could include an additional corpus of reports with such keywords as “recession”, “recovery”, “growth”, “unemployment” and similar items. An analysis of the effects of linguistic factors alone on the reporting tone could also provide some interesting insights. Research on the coverage tone in relation to different subjects (economy, companies and political events) could be another valuable addition to the study.
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Vedernikova, Olga, Lorena Siguenza-Guzman, Johanna Pesantez, and Rodrigo Arcentales-Carrion. "Time-Driven Activity-Based Costing in the Assembly Industry." Australasian Business, Accounting & Finance Journal 14, no. 4 (2020): 3–23. http://dx.doi.org/10.14453/aabfj.v14i4.2.
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Costs and their determination play a critical role in all manufacturing companies. The traditional costing system has received criticism resulting from the arbitrary allocation of indirect manufacturing costs. As an important initiative to address its weaknesses, new costing methods such as the Time-Driven Activity-Based Costing (TDABC) have emerged. Unfortunately, up to our knowledge, no investigations have been applied in analyzing assembly companies thoroughly nor considering all the processes necessary to obtain the final products. This article explores the TDABC application in the assembly industry through comparison with traditional volume-based costing by focusing on manual and semi-automatized production. Since the research is descriptive, a multiple-case study design was implemented in the assembly of televisions, motorcycles, and printed circuit boards. The developed methodology allowed determining the existence of factory overhead and direct labor cost variances between two different cost accounting systems, which also affected the unit cost of the products. Findings also highlight the benefits of TDABC application in the assembly industry, along with the shortcomings and future potential of research in this area.
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Meir, Christopher. "Becoming a Global Producer: Creative and Industrial Change at Post-Studiocanal RED." Journal of British Cinema and Television 16, no. 3 (July 2019): 305–26. http://dx.doi.org/10.3366/jbctv.2019.0479.
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Up until late 2013, RED Production was considered one of the UK's premier independent producers. In December of that year, 51 per cent of the company was sold to Studiocanal, the production and distribution arm of France's Canal+, a pay-television provider with an increasingly global orientation. Although the UK trade press has continued to label RED as an ‘indie’, this article argues that the investment by a much larger multinational corporation marks a watershed moment in RED's history. While the company's trajectory since the takeover shows many artistic continuities with the previous fifteen years – including continuing collaboration with key writers and a dedication to shooting and setting stories in the north of England – there have also been significant changes to some of the company's long-standing practices that require critical scrutiny. The article will document and analyse a number of these, taking as case studies the series created after the investment and distributed by Studiocanal as well as a number of projects reported to be in development since that point. Collectively these changes have seen RED shift from what Andrew Spicer and Steve Presence have called its ‘rooted regionalism’ to being a more globally oriented producer, a change apparent in the settings of some of its shows. It has also seen the company embrace artistic practices – such as literary adaptation and the remaking of existing series and films – that it had long eschewed. The article seeks to explore what has been gained and lost by RED as it has embarked on this global strategy, a strategy that becomes all the more urgent as the industrial landscape of British television is transformed by the importance of international export markets and the growing power of subscription video on demand (SVOD) services such as Amazon Prime and Netflix.
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Rizal, Rizal, and Eliyani Eliyani. "Pengembangan Jadwal Shift Staf Editor Video pada Stasiun Televisi Nasional Trans7 berbasis Android menggunakan Algoritma Ant Colony dengan Firebase." Jurnal Teknologi Informasi dan Ilmu Komputer 7, no. 2 (February 18, 2020): 235. http://dx.doi.org/10.25126/jtiik.2020721394.
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<p class="Abstrak">Perusahaan bisnis bidang <em>broadcasting</em> atau tepatnya stasiun televisi memiliki strategi untuk menayangkan tayangan acara yang paling ditunggu oleh penonton setianya, yaitu berupa tayangan acara yang <em>up to date</em> dan cepat dalam penyiarannya. Oleh sebab itu, diperlukan staf pada bagian pasca produksi untuk bekerja secara cepat dan sesuai dengan prosedur tayangan. Untuk mempersiapkan tayangan terbaru secara cepat, diperlukan sistem penjadwalan staf <em>editor</em> video yang jumlahnya besar secara cepat, tepat, dan dapat dilihat dengan instan oleh para <em>editor</em> video sehingga memudahkan <em>editing</em> video setiap harinya. Algoritma yang cocok untuk menghasilkan jadwal secara cepat dengan jumlah yang besar dengan tidak ada data yang bentrok adalah <em>ant colony</em> atau algoritma koloni semut. Algoritma <em>ant colony </em>ini mengacu pada cara hidup semut yang berkelompok dalam mencari makanan sehingga dapat kembali lagi ke tempat semula dengan jalur yang sama dan cepat. Data masukan yang digunakan dalam penelitian ini adalah nama <em>editor</em> dan ruangan, serta luaran berupa jadwal per <em>shift</em> untuk setiap ruangan untuk suatu periode tertentu. Penelitian ini menggunakan basis data <em>MySQL</em> dan <em>firebase</em>. Jadwal <em>editor</em> yang telah diolah pada aplikasi <em>back-end</em> kemudian diubah ke dalam bentuk aplikasi android, dengan demikian jadwal tersebut dapat dilihat oleh seluruh staf <em>editor</em> video melalui <em>smartphone</em> masing-masing. Pengujian dilakukan terhadap hasil perhitungan algoritma, fungsional sistem, integrasi, dan penerimaan yang dikembalikan pada sistem dengan mencari kesalahan pada <em>interface</em> perangkat lunak, dan pengujian penggunaan langsung kepada pengguna. Hasil pengujian menunjukkan bahwa algoritma <em>ant colony</em> dapat digunakan untuk menyusun jadwal <em>editor</em> video dengan cepat dan tepat, semua fitur berjalan dengan baik, dan tingkat kepuasan pengguna cukup tinggi.</p><p class="Abstrak"> </p><p class="Abstrak"><em><strong>Abstract</strong></em></p><p class="Abstract"><em>Broadcasting or television business companies have a strategy to broadcast programs up to date and quickly. Therefore, staff in the post-production section are required to work quickly and in accordance with the show procedures. To prepare the latest shows quickly, a video editor staff scheduling system is needed. That scheduling system should be fast, precise, and can be seen instantly by video editors so that the editing processes can be done easily every day. The suitable algorithm to generate a schedule quickly in large numbers with no data clashing is ant colony.Ant colony algorithm refers to the way of ants when looking for food in a group, then they can return again to their original place with the same path and fast. The input data used in this study is the name of the editor and the room, and output in the form of a schedule per shift for each room for a certain period. This research uses MySQL and firebase databases. The editor's schedule that has been processed in the back-end application is then converted into an android application, therefore the schedule can be seen by all video editor staff via their own smartphones. Tests are carried out on the results of algorithm calculations, functional systems, integration, and feedback to the system by looking for errors on the software interface, and direct use testing to users. The test results show that the Ant Colony algorithm can be used to compile a schedule of video editors quickly and precisely, all features run well, and the level of user satisfaction is quite high.</em></p><p class="Abstrak"><em><strong><br /></strong></em></p>
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Watson, Ian. "Practical Aesthetics and the Formation of the Atlantic Theater Company." New Theatre Quarterly 24, no. 2 (May 2008): 189–200. http://dx.doi.org/10.1017/s0266464x08000158.
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The Atlantic Theater Company has been one of Off-Broadway's most successful theatre companies over the past twenty years, having won twelve Tony Awards, eight Lucille Lortel Awards, thirteen Obie Awards, and three Outer Critics Circle Awards. The company, originally founded in 1983 by the playwright David Mamet and the actor William H. Macy, has mounted over one hundred plays, many by new writers. Included among its successes are Martin McDonagh's The Lieutenant of Inishmore and The Beauty Queen of Leenane, Woody Allen's A Second Hand Memory and Writer's Block, the revival of David Mamet's American Buffalo, Celebration and The Room by Harold Pinter, Mojo and Night Heron by Jez Butterworth, and the new musical adaptation of Frank Wedekind's play Spring Awakening, which won the 2007 Tony for best new musical. But producing plays is only part of Atlantic's mission: it also runs the Atlantic Acting School, which operates both as a private conservatoire and an undergraduate training studio in conjunction with New York University. Its curriculum focuses on Practical Aesthetics, the acting technique developed by Mamet and Macy. Mary McCann, in conversation here with NTQ Contributing Editor Ian Watson, is a founding member of the Atlantic Theater Company and Director of the Atlantic Acting School, where she also teaches. She continues to act, having appeared in many of the company's productions, on Broadway, on television, and in several independent films. The conversation took place over two meetings at the Atlantic Acting School in New York City, on 25 April and 5 June 2007.