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Journal articles on the topic 'Television production companies'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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 s

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2

Payne, Alison. "‘The growing practice of calling in continental film groups’." VIEW Journal of European Television History and Culture 6, no. 11 (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

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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 (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-b

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Doyle, Gillian. "Television production: configuring for sustainability in the digital era." Media, Culture & Society 40, no. 2 (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 af

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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 (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

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Doyle, Gillian. "Public policy, independent television production and the digital challenge." journal of digital media & policy 10, no. 2 (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 glo

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Barra, Luca, and Massimo Scaglioni. "TV Goes Social." Convergent Television(s) 3, no. 6 (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 discours

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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 (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 Oak

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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 (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 n

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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 (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 i

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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 (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 h

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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 (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

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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 (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, globall

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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 (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

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15

Spicer, Andrew. "A Regional Company? RED Production and the Cultural Politics of Place." Journal of British Cinema and Television 16, no. 3 (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

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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 (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 an

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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 i

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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 (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 informa

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19

Pajala, Mari. "Laulukilpailusta show-kilpailuksi?" Lähikuva – audiovisuaalisen kulttuurin tieteellinen julkaisu 34, no. 1 (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,

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20

Vinogradova, Ekaterina. "Latin American TV Series as the Channel for Intercultural Communication with Europe." Contemporary Europe 99, no. 6 (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

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Nikunen, Kaarina. "The Intermedial Practises of Fandom." Nordicom Review 28, no. 2 (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

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22

Klein-Shagrir, Oranit, and Heidi Keinonen. "Public Service Television in a Multi-Platform Environment." Convergent Television(s) 3, no. 6 (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

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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 (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 an

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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 (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 provisio

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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 (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 no

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Klomp, Mirella. "Staging the Resurrection." International Journal of Public Theology 9, no. 4 (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

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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 (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 prese

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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

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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 (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 drama

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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 (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, w

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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 (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 methodolo

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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 (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, tel

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Lopera-Mármol, Marta, and Manel Jiménez-Morales. "Green Shooting: Media Sustainability, A New Trend." Sustainability 13, no. 6 (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 Sho

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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 (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 nove

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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 (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 pro

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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 (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 su

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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 (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 accept

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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 (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

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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

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Samaras, Evanthia. "Futureproofing Visual Effects." International Journal of Digital Curation 16, no. 1 (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

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Castellvi, César. "Les Clubs de presse au Japon." Sur le journalisme, About journalism, Sobre jornalismo 8, no. 2 (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.

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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 (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 differe

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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 (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 s

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Moran, Albert. "The International Face of Australian Television." Media International Australia 121, no. 1 (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 r

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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 (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

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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 sta

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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 assembl

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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 (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 fifte

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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 (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

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Watson, Ian. "Practical Aesthetics and the Formation of the Atlantic Theater Company." New Theatre Quarterly 24, no. 2 (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 Ame

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