Bibliographies thématiques / Telecinco (Firm)

Littérature scientifique sur le sujet « Telecinco (Firm) »

Auteur : Grafiati
Publié le 26 juillet 2024
Mis à jour le 27 juillet 2024

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Articles de revues sur le sujet "Telecinco (Firm)"

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Jiménez Alcarria, Francisco, et Ana Mejón. « Formas de producción en el cine español. Los remakes participados por Telecinco Cinema ». Original y copia, del remake al meme : adaptaciones, réplicas y recreaciones en la comunicación, no 17 (7 mars 2022) : 233–1251. http://dx.doi.org/10.24137/9.17.10.

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La producción de remakes en el cine constituye una práctica de carácter transnacional especialmente presente en las cinematografías norteamericana y europeas. Del mismo modo, la adquisición de derechos para adaptar una película de un mercado doméstico a otro infiere un especial interés para los estudios tanto de representación multicultural como de los flujos de producción internacionales. La presente investigación explora desde una perspectiva industrial las películas participadas por la productora Telecinco Cinema que han sido desarrolladas bajo la fórmula del remake en el último lustro (2017-2021). En concreto, las producciones estudiadas son Perfectos desconocidos (Álex de la Iglesia, 2017), Lo dejo cuando quiera (Carlos Therón, 2019), Si yo fuera rico (Álvaro Fernández Armero, 2019) y Operación Camarón (Carlos Therón, 2021). Los resultados hallados reflejan un mayor éxito de los remakes de Telecinco Cinema en las salas españolas que el de sus obras de origen, así como una preferencia por la adaptación de comedias procedentes, principalmente, de Italia.
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García-Mainar, Luis M. « Reality matters : Transnational realist crime film and television in Spain ». Studies in Spanish & ; Latin-American Cinemas 16, no 3 (1 septembre 2019) : 363–81. http://dx.doi.org/10.1386/slac_00004_1.

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This article argues that contemporary Spanish crime film and television has adapted to an economic crisis and has embraced a transnational crime film and television ‘realism’, introspection and pathos that reconciles commercial success with the cultural need to address Spain’s recent history. El niño/The Kid (Monzón, 2014), La isla mínima/Marshland (Rodríguez, 2014), El Príncipe/The Prince (Telecinco, 2014–16) and Mar de plástico/Sea of Plastic (Antena 3, 2015–16) represent an attempt to reach out to audiences by gaining international recognition for Spanish audio-visual productions and honouring local issues and spaces. Their diverse configurations point to the country’s ambiguity about its historical legacy and suggest the emergence of a new, gentler version of Spanish nationalism.
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Sugiura, Yukio. « Telecine and film recording for hi-vision. » Journal of the Institute of Television Engineers of Japan 43, no 2 (1989) : 160–68. http://dx.doi.org/10.3169/itej1978.43.160.

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Soluk, George. « SMPTE Tutorial Paper : Understanding Film Dynamics on Continuous-Motion Telecines ». SMPTE Journal 95, no 3 (mars 1986) : 310–16. http://dx.doi.org/10.5594/j03298.

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Caston, Emily. « The Pioneers Get Shot : Music Video, Independent Production and Cultural Hierarchy in Britain ». Journal of British Cinema and Television 16, no 4 (octobre 2019) : 545–70. http://dx.doi.org/10.3366/jbctv.2019.0498.

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This article identifies and summarises the main findings of the AHRC research project ‘Fifty Years of British Music Video, 1966–2016’. It contextualises the history of music video as a film practice within an unspoken cultural hierarchy of screen arts widely shared in universities, policy circles and the British Film Institute. The article documents the main stages in the development of the music video industry and highlights the extent to which the pioneers served as early adopters of new technologies in videotape, telecine and digital film-making. The ACTT consistently lobbied against music video producers, as did the Musicians’ Union, and consequently music video producers emerged from the 1980s with virtually no protection of their rights. The ACTT's issue was new video technology which it opposed. It also opposed offline editing on video tape because it would lead to redundancies of film editors and potentially required fewer post-production crew. The MU's issue was royalty payments to session musicians and lip synch. The music video industry has functioned as a crucial R&D sector and incubator for new talent and new technologies in the British film and television industries as a whole, without experiencing any of the financial rewards, cultural status or copyright protections of the more esteemed ‘screen arts’.
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Gonçalo, Pablo. « Ken Jacobs and the Perverted Archival Image ». Acta Universitatis Sapientiae, Film and Media Studies 13, no 1 (1 décembre 2016) : 73–88. http://dx.doi.org/10.1515/ausfm-2016-0015.

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Abstract This paper analyses two recent works by American filmmaker Ken Jacobs that deal with aspects of remediation. The first is A Tom Tom Chaser, in which Jacobs records the telecine process that transforms the classic silent film Tom, Tom, the Piper’s Son from chemical into electronic media. The film is riddled with poetic turns inviting the audience to rediscover the medial noise hidden by images. Moreover, Jacobs focuses on the moment of transition from a material medium (the film strip) to the immaterial (the image, the video), so that the noise brings the viewer closer to a perception or brief capture of the medium in itself. Images are both figured and disfigured along this process. The second work is The Guests, an unconventional 3D film in which Jacobs transforms a short take from a Lumière Brothers film by discovering unseen views of the original footage. In his remediation of the 3D technology, Jacobs employs the Pulfrich effect, which allows him to blur the images of the archival film and to create instances of uncertainty between the views coming from the two human eyes. As a result of this procedure, the characters in the film seem to look directly at the audience. The analysis of both films highlights the poetry of the typical manoeuvre by which Jacobs perverts the archival medium, whereupon the viewing mode between media denaturalizes the usual media gaze (framed and representational), focusing on the moment of viewing in itself. This, as a result, favours the medium for what it is and subverts the gaze that expects something representational, discursive, perhaps story-driven.
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Щербак, Олена. « Кінодискурс як дворівнева система складників : функційний погляд ». Pomiędzy. Polonistyczno-Ukrainoznawcze Studia Naukowe 6, no 3 (2022) : 175–81. http://dx.doi.org/10.15804/ppusn.2022.03.19.

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The article is devoted to the problem of modeling the structure of film discourse from a functional point of view. The author explained the essence of the concept of “film discourse” and clarified its relationship with related terms. The article denies the expediency of identifying such concepts as “telecine cinematographic discourse” and “cinematographic discourse” with film discourse. The material proves the hyperonymic status of film discourse. It has been noticed that scientists use the following terms in film discourse studies: film text, film dialogue, film replica, film trailer, film announcement and film slogan. It has been determined that film dialogues, film replicas and film slogans are among them of a purely verbal nature. Movie texts, along with movie trailers and movie announcements, accumulate verbal and other semiotic signs. It is established that the connections between the groups of these concepts show the transition from the largest to the smallest: 1) film text – film dialogue – film replica; 2) film trailer – film announcement – film slogan. The expediency of applying a functional approach to modeling the structure of film discourse based on the provisions of the methodology of discourse analysis and the idea of the dyadic nature of the structure of discourse as such is substantiated. However, it is also suggested to take into account the two levels of communication in film discourse (external level – collective author / audience; internal level – addressee character and addressee character) and to distinguish between ectoand entocomponents. Entocomponents are film texts with film dialogues and film lines. These are products of communicative activity that have a certain meaning and semiotic form that can convey this meaning. They are also marked by integrity, completeness and perform a variety of discourse functions, in addition to advertising. Ectocomponents are film trailers, film announcements and film slogans, because they are the products of communicative activities that have their meaning and semiotic form, while being relatively complete and concise with a focus on the implementation of primarily advertising function. It is determined that ento- and ectocomponents in the structure of film discourse interact with each other on the principle of hierarchical subordination. Ectocomponents are subordinated to ethnic components, despite the fact that external components have a wider functional palette. It is proved that the relations between ento- and ectocomponents are established. approximate identity, because movie trailers and movie announcements are almost always created on the basis of pre-borrowed frames, episodes and cues / dialogues from the main movie text. This was confirmed by a comparative analysis of the language organization of the film trailer and the film text of the documentary “Your Vasyl”
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SHCHERBAK, O. « FILM DISCOURSE AS A TWO-LEVEL SYSTEM OF COMPONENTS : A FUNCTIONAL VIEW ». Current issues of linguistics and translations studies, no 25 (30 septembre 2022) : 52–56. http://dx.doi.org/10.31891/2415-7929-2022-25-10.

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The article is devoted to the problem of modeling the structure of film discourse from a functional point of view. The author explained the essence of the concept of “film discourse” and clarified its relationship with related terms. The article denies the expediency of identifying such concepts as “telecine cinematographic discourse” and “cinematographic discourse” with film discourse. The material proves the hyperonymic status of film discourse. It has been noticed that scientists use the following terms in film discourse studies: film text, film dialogue, film replica, film trailer, film announcement and film slogan. It has been determined that film dialogues, film replicas and film slogans are among them of a purely verbal nature. Movie texts, along with movie trailers and movie announcements, accumulate verbal and other semiotic signs. It is established that the connections between the groups of these concepts show the transition from the largest to the smallest: 1) film text – film dialogue – film replica; 2) film trailer – film announcement – film slogan. The expediency of applying a functional approach to modeling the structure of film discourse based on the provisions of the methodology of discourse analysis and the idea of the dyadic nature of the structure of discourse as such is substantiated. However, it is also suggested to take into account the two levels of communication in film discourse (external level – collective author / audience; internal level – addressee character and addressee character) and to distinguish between ecto- and entocomponents. Entocomponents are film texts with film dialogues and film lines. These are products of communicative activity that have a certain meaning and semiotic form that can convey this meaning. They are also marked by integrity, completeness and perform a variety of discourse functions, in addition to advertising. Ectocomponents are film trailers, film announcements and film slogans, because they are the products of communicative activities that have their meaning and semiotic form, while being relatively complete and concise with a focus on the implementation of primarily advertising function. It is determined that ento- and ectocomponents in the structure of film discourse interact with each other on the principle of hierarchical subordination. Ectocomponents are subordinated to ethnic components, despite the fact that external components have a wider functional palette. It is proved that the relations between ento- and ectocomponents are established approximate identity, because movie trailers and movie announcements are almost always created on the basis of pre-borrowed frames, episodes and cues / dialogues from the main movie text. This was confirmed by a comparative analysis of the language organization of the film trailer and the film text of the documentary “Your Vasyl”.
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D'Ottavio Cattani, Alberto Enrique. « Alejando Amenábar. Ágora : Hipatia en el Cine. España, 2009. » Cuestiones de género : de la igualdad y la diferencia, no 14 (27 juin 2019) : 727. http://dx.doi.org/10.18002/cg.v0i14.5474.

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<p><strong>Ágora: Hipatia en el cine</strong></p><p>Título original: Ágora /Agora en inglés</p><p>Director: Alejando Amenábar</p><p>Productoras: Telecinco Cinema, <em>Himenóptero y</em> MOD Producciones </p><p>Reparto: Rachel Weisz (Hipatia de Alejandría); Max Minghella (Davos); Oscar Isaac (Orestes); Ashraf Barhom (Amonio); Michael Lonsdale (Teón); Rupert Evans (Sinesio de Cirene), Homayoun Ershadi (Aspasio) y Sami Samir (Cirilo)</p><p>Género: Drama histórico</p><p>Guionistas: Alejandro Amenábar y Mateo Gil</p><p>País de origen: España</p><p>Duración: 126 minutos</p><p>Año de lanzamiento: 2009</p><p> </p><p class="biog"><strong>Resumen</strong><strong></strong></p><p class="biog">Este trabajo perfila el marco histórico que le tocó vivir a Hipatia, maestra, matemática, astrónoma y filosofa en la Alejandría romana de los siglos IV y V de nuestra era, las turbulencias político-religiosas a las que estuvo expuesta así como al rol pionero y relevante que le cupo entre las mujeres científicas de la antigüedad. Finalmente, hace hincapié en el filme Ágora que, trayéndola desde el pasado al presente, permite revalorarla en su justa dimensión.</p><p class="biog"><strong>Abstract</strong></p><p class="biog"><strong></strong>This paper outlines the historical frame Hypatia lived as teacher, mathematician, astronomer and philosopher in the Alexandria Roman during the fourth and the fifth century of our era, the politico-religious turbulences she was exposed to as well as the pioneering and relevant Hypatia’s role among the scientific women of antiquity. Finally, the film Agora bringing Hypatia from the past to the present allows her to be reassessed in its proper dimension.</p>
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« SMPTE Engineering Guideline : Telecine Scanning for Film Transfer to Television ». SMPTE Journal 100, no 9 (septembre 1991) : 755–75. http://dx.doi.org/10.5594/j02471.

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Thèses sur le sujet "Telecinco (Firm)"

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McDowell, Samuel Keith. « Realtime concealment of defects in a telecine derived video signal ». Thesis, Queen's University Belfast, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239015.

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Chapitres de livres sur le sujet "Telecinco (Firm)"

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Jones, Stuart Blake, Richard H. Kallenberger et George D. Cvetnicanin. « Telecine Devices ». Dans Film into Video, 51–89. Routledge, 2000. http://dx.doi.org/10.4324/9780080506388-5.

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« Telecine Demystified ». Dans Editing Digital Film, 46–54. Routledge, 2012. http://dx.doi.org/10.4324/9780080505053-8.

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Jones, Stuart Blake, Richard H. Kallenberger et George D. Cvetnicanin. « The Telecine Environment ». Dans Film into Video, 255–71. Routledge, 2000. http://dx.doi.org/10.4324/9780080506388-12.

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Jones, Stuart Blake, Richard H. Kallenberger et George D. Cvetnicanin. « Telecine Methods and Techniques ». Dans Film into Video, 273–301. Routledge, 2000. http://dx.doi.org/10.4324/9780080506388-13.

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Bricca, Jacob. « Archival Material ». Dans How Documentaries Work, 147—C8.N1. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197554104.003.0009.

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Abstract Chapter 8 investigates the use of archival documents in documentaries, interrogating how they are visually manipulated to deliver an artificial sense of authenticity and how they are used to quickly and superficially place an event in historical context. The markers of age (scratches, etc.) that many archival documents contain can be used by a documentary to make a particular section feel “authentic,” even though this is arguably artificial since there is no neutral way to present archival material. (Removing scratches is just as easily accomplished as adding them, and any telecine transfer will have to choose parameters for how the image should be represented.) It is not uncommon to accentuate an image’s seeming “archival” value, for instance, by including the sprocket holes on the side of the film frame even though this is actually a postproduction effect rather than a product of the transfer process. Newspaper articles have routinely had their context manipulated throughout the history of documentary in order to make them more easily digested by audience members; multiple examples from the series Tiger King: Murder, Mayhem, and Madness show that such manipulation is even more sophisticated today. Documentaries will often use the clichéd moments from a historical archive in order to quickly evoke an era and bring it into the narrative.
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Actes de conférences sur le sujet "Telecinco (Firm)"

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McLean, I. « Telecine noise reduction ». Dans IEE Seminar Digital Restoration of Film and Video Archives. IEE, 2001. http://dx.doi.org/10.1049/ic:20010022.

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Bowring, John. « Automated Telecine Syncing and Data Base Management for Electronic Film Post ». Dans SMPTE Australia Conference. IEEE, 1994. http://dx.doi.org/10.5594/m001143.

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Poetsch, D. « Multistandard film to tape transfer using the CCD telecine FLH 1000 ». Dans International Broadcasting Convention - IBC '94. IEE, 1994. http://dx.doi.org/10.1049/cp:19940758.

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