Bibliografie tematiche / LGBTQ film and television

Letteratura scientifica selezionata sul tema "LGBTQ film and television"

Autore: Grafiati
Pubblicato: 25 luglio 2024
Ultima modifica: 31 luglio 2024

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Articoli di riviste sul tema "LGBTQ film and television"

1

Demus, Axelle. "Queer Memory Beyond the Archive: Reading LGBTQ Pasts on Screen Towards Queer Futures". Public 33, n. 65 (1 giugno 2022): 332–33. http://dx.doi.org/10.1386/public_00112_5.

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A review of Anamarija Horvat’s 2021 book, Screening Queer Memory: LGBTQ Pasts in Contemporary Film and Television, in which she sets out to examine how queer memory is represented on and created by contemporary US and UK film and television. In this review, the author examines the claims and goals of the book, as well as its strengths and weaknesses.
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Luo, Qing. "The Research on the Representation of LGBTQ in Eastern and Western Films". Communications in Humanities Research 3, n. 1 (17 maggio 2023): 1116–26. http://dx.doi.org/10.54254/2753-7064/3/2022936.

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In recent years, increased public awareness and understanding of the LGBTQ community have led some film and television productions to venture into LGBTQ themes. However, there is still some under-representation in these films. These films often come from the independent sector of film, and there is a lack of such films in the major Hollywood studios. Stereotypes about this group still exist despite the lack of diversity and representation of this group in media. Through visual analysis, discourse analysis and other analysis methods, the author examines the representation of LGBTQ people in both Eastern and Western films and uses these three films: Farewell My Concubine, Portrait of a Lady on Fire, and Call Me By Your Name as examples. Through this study, the author found that the expressions of this group in Eastern and Western films and TV series differed greatly, with the expressions in Eastern countries being more subtle and the expressions in Western countries being more intuitive and diverse. This code was relaxed in the 1960s-1970s, which also signalled the dawn of the feminist and homosexual movements.
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Navalón Guzmán, Corpus. "Anamarija Horvat. Screening Queer Memory: LGBTQ Pasts in Contemporary Film and Television". ES Review. Spanish Journal of English Studies, n. 43 (23 novembre 2022): 325–29. http://dx.doi.org/10.24197/ersjes.43.2022.325-329.

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Cortvriend, Jack. "Stylistic convergences between British film and American television: Andrew Haigh’s Looking". Critical Studies in Television: The International Journal of Television Studies 13, n. 1 (25 febbraio 2018): 96–112. http://dx.doi.org/10.1177/1749602017746115.

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This article compares Andrew Haigh’s HBO series, Looking, with his feature films Weekend and 45 Years. It addresses the role of the showrunner, particularly in relation to transmediality and transnationality suggesting there is a convergence between British film and American quality television. In doing this, it also addresses the particularities of Haigh’s style, representations of homonormativity and LGBT+ characters in popular television and the representation of national and ethnic difference in Looking.
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Horvat, Anamarija. "Crossing the Borders of Queer TV: Depictions of migration and (im)mobility in contemporary LGBTQ television". Critical Studies in Television: The International Journal of Television Studies 15, n. 3 (settembre 2020): 280–301. http://dx.doi.org/10.1177/1749602020934091.

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This article focuses on contemporary queer television and examines its depiction of LGBTQ border crossings and migration. In recent years, a shift in the American and British televisual landscape has seen queer television drama veering away from a predominant focus on white, middle-class characters, towards an exploration of immigrant positionalities and the geopolitical relevance of state borders. However, these changes in media representation have not yet been granted sufficient academic attention. This article aims to fill this gap through analysing three relevant examples of US and UK queer television; Transparent (2014–2019) , Years and Years (2019) and Orange is the New Black (2013–2019).
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Shaw, Gareth, e Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship". China Information 32, n. 2 (30 ottobre 2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.

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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology and Web 2.0, ranging from digital video formats to Internet-based distribution via social media networks and video-hosting platforms, provide opportunities for Chinese audiences to access films and documentaries dealing with LGBT themes. This empirical study assesses how production, promotion and consumption of queer documentary films are influenced by the development of social media within Chinese cyberspace. Through close readings of microblogs from SinaWeibo, this study combines analysis of contemporary research with digital social rights activism to illustrate contemporary discourse regarding film-based LGBT representation in China. Finally, the study comments on the role that documentary filmmaking plays in China’s gay rights movement, and discusses the rewards (and challenges) associated with increased levels of visibility within society.
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Cameron-Gardos, Paris. "Hand-out: Rethinking coming out in Flemish audio-visual culture". Tijdschrift voor Genderstudies 23, n. 4 (1 dicembre 2020): 337–53. http://dx.doi.org/10.5117/tvgn2020.4.002.came.

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Abstract Bavo Defurne’s film Noordzee, Texas (2011) provides a unique cultural object with which to re-examine the discourses concerning queer representation in Flemish audio-visual media, the normative acceptance of the Flemish LGBTQ+ community, and the importance of coming out narratives. Vanlee (2019) and Vanlee, Dhaenens, and Van Bauwel (2020) argue that the banal representations of queer identity in Flemish television has privileged normative discourses about both sexuality and Flemish identity. In the film, coming out both takes place and never occurs. The deathbed scene presents coming out as a moment of disorientation from the normative. Sara Ahmed’s (2006) concept of disorientation is employed as a tool to help develop a pluralistic definition of coming out that takes into account the endless repetition and adaptability of the act in practice. The scene illuminates the vulnerability of conventionally saturated notions of coming out, being out, and gay identity. The film’s narrative, and its Flemish roots, serve as analytical tools to help better understand how coming out can be enacted in a manner that forces the audience to re-evaluate how identities are formed and adopted.
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Engchuan, Rosalia Namsai. "A Political Dance in the Rain". Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 176, n. 1 (19 marzo 2020): 7–36. http://dx.doi.org/10.1163/22134379-bja10002.

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Abstract Queer films are largely absent from Indonesian cinema and television screens due to the country’s current climate of LGBT ‘moral panic’. This article examines how, two decades after the reformation, Indonesian film practitioners are forced to navigate complex configurations of power and knowledge—negotiating social, political, and religious entanglements through their cinematic practices. My analysis is focused on komunitas film (film community/ies) and, more specifically, events and activities surrounding Luhki Herwanayogi’s short film On Friday Noon (2016), which chronicles the emotionally and physically fraught journey of a transgender Muslim woman as she seeks to perform Friday prayers. Drawing on this example, the article explores the disruptive potential of cinematic practice to challenge and nullify the ostensible binary between Islam and queerness, showing alternative ways of being Muslim in contemporary Indonesia, where piety and sexual identity often come together in unexpected ways.
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Jackson, Maghan Molloy. ""Reading Too Much into It": Affective Excess, Extrapolative Reading, and Queer Temporalities in MCU Fanfiction". JCMS: Journal of Cinema and Media Studies 63, n. 1 (settembre 2023): 30–52. http://dx.doi.org/10.1353/cj.2023.a910958.

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abstract: This article engages José Esteban Muñoz's concept of queer utopian temporality through the heuristic of fanfiction. Beginning with a discussion of accusations of "excessive reading" as a normalizing disciplinary tactic of media viewership, I problematize representations of LGBT+ experience in mainstream television and cinema through Muñoz's figuration of "straight time." I then turn to close readings of several fannish texts created in conversation with the 2014 Marvel Cinematic Universe film Captain America: The Winter Soldier (Anthony Russo and Joe Russo) to demonstrate fanfiction's utility in imagining queer utopian temporalities through the practice of "reading too much into" extant narrative media texts.
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Glenn, Clinton. ""We are the new Lithuania"". lambda nordica 25, n. 3-4 (26 aprile 2021): 54–78. http://dx.doi.org/10.34041/ln.v25.708.

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In the Baltic States, LGBT representation in the media is limited at best. While LGBT activism continues to gain support and visibility, LGBT characters are considerably less common on film and television, and only Lithuania has produced films with openly gay or lesbian characters in main roles. This stands in contrast to the tendency in Baltic media and politics to lay claim to Nordic values and to identify as Northern European rather than Eastern European. In this paper I examine how two Lithuanian films grapple with identity and place in their depictions of gay characters. Porno Melodrama (Romas Zabarauskas, 2011) follows a gay couple as they are forced to choose between nationalistic homophobia and fleeing to “safer” cities in Western Europe. Nuo Lietuvos Nepabėgsi (You Can’t Escape Lithuania, Romas Zabarauskas, 2016) features a fictionalised version of its director in a meta-narrative meditation on the meaning of cinema as well as the place of queerness in the “new” Lithuania. In this article I interrogate how sexual and national identity are placed in contra-distinction to one another in the two films by Romas Zabarauskas: in Porno Melodrama, where gay identity is met with violent retribution; and in You Can’t Escape Lithuania, where queerness serves as a critique of the underlying foundations of gender, sexuality and nationalist narratives of belonging. I critique Western conceptions of homonormativity and homonationalism, where their problematic mapping onto a Baltic context fails to take into account the diverging reality in which neoliberalism has not been accompanied by more inclusive attitudes to sexual and gender diversity.
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Tesi sul tema "LGBTQ film and television"

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Olivo, Juliana Christina. "Where have all the queer kids gone?How Queers Got Abandoned by Film Then Got Adopted by The Cooler Sibling, TV". Ohio University Honors Tutorial College / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1620130222346199.

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Razman, Diana Cristina. "Black Sails, Rainbow Flag: Examining Queer Representations in Film and Television". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22626.

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This thesis aims to present, discuss, and analyze issues relating to queer representations in film and television. The thesis focuses on existing tropes, such as queer coding, queerbaiting, and the “Bury Your Gays” trope that are prevalent in contemporary media, and applies the analysis of these tropes to a case study based on the television series Black Sails (2014-2017). The analysis explores the main research question: in what way does Black Sails subvert or reproduce existing queer tropes in film and television? This then leads to the discussion of three aspects: the way queer sexual identities are represented overall, what representational strategies are employed by the series in a number of episodes, and whether or not these representations reproduce or subvert media tropes.
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Felix, José Carlos. "Film and television adaptation". Florianópolis, SC, 2004. http://repositorio.ufsc.br/xmlui/handle/123456789/87828.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente
Made available in DSpace on 2012-10-22T02:29:14Z (GMT). No. of bitstreams: 0
A presente pesquisa tem como objetivo principal investigar o processo de adaptação de filmes baseados em textos literários em relação ao contexto histórico e social em que eles foram produzidos. Desta forma, a pesquisa apresenta uma análise comparativa de duas versões cinematográficas da peça do dramaturgo Tennessee Williams A Streetcar Named Desire produzidas em momentos históricos distintos, a primeira para o cinema, dirigida por Elia Kazan (1951) e a outra feita para a televisão, dirigida por Glenn Jordan (1995). Uma discussão sistemática sobre o processo de
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Kurz, Lindsey H. "The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television". University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1525170405649783.

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Anthony, Tyler Robert Daniel. "Análisis de la representación de la mujer en la serie Las chicas del cable (Netflix 2017-20XX)". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu15556849066262.

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Frame, Gregory. "The American president in film and television". Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/57046/.

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This thesis examines the representation of the American president in fictional films and television programmes, as well as documentary film and photography. It engages broadly with the subject’s entire history, but focuses particularly on the past two decades (1992-2012). Its primary method is close textual analysis, departing from pre-existing studies that are largely preoccupied with questions of verisimilitude and historical accuracy. The construction of the cinematic and televisual presidencies requires a simultaneous negotiation of the ‘real’ political/historical record, and the desire to reproduce and reinforce the representational genealogies inherited from cinema and television’s own histories (not necessarily all explicitly ‘political’). My research has found the presidency to be overwhelmingly reliant upon mythological discourses about American national identity, and traditional conceptions of masculinity. How these constructions impact upon the representation of the president in relation to the contexts from which the films and programmes emerge is of crucial importance. The conception of the presidency has undergone enormous change since the early 1990s. The end of the Cold War, the increased scrutiny of the mass media, 9/11 and the ‘war on terror’, and the economic crisis, have either challenged or reinforced the notion that the president is an omnipotent force, able to bend the world to his will. The strategies cinema and television have employed to address these changes is of crucial significance to this thesis. This thesis will establish the manner in which techniques of mainstream film and television production – genre, visual style, iconography, and narrative – have impacted upon the reinforcement or critique of the presidential myth. As the presidency has suffered relative decline in a more diffuse geopolitical environment, this thesis demonstrates the extent to which the myth of the presidency has required the intervention of mainstream cinema and television to ensure its preservation.
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Stoiljkovic, Anna Sofia. "Representation of race, gender and LGBTQ+ on Modern Family". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21830.

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AbstractThe purpose of this study is to establish the representations of the main characters of Modern Family out of three themes: the representation of genders, race and LGBTQ+, based on theories within the field, such as representation and stereotypes. Earlier research shows that these three social groups often are represented stereotypically in media with more inclusivity in some aspects and less in some. Four episodes have been chosen from different years and have been analyzed from an intersectional perspective. This purpose of this research is to understand what codes have been used when creating the main characters, and it focuses on three research questions:- In what ways are the female, male, Latin and LGBTQ+ characters on Modern Family represented?- Has the representation of race, gender and LGBTQ+ changed over the nine years since Modern Family started broadcasting? If so, in what ways?- What stereotypes replicate on the different characters depending on their race, gender and LGBTQ+?To do this, descriptive text analysis and semiotics have been used to analyze each episode and for better understanding of the stereotypical traits and representation in the analysis, Richard Dyer’s definition of stereotypes and Stuart Hall’s theory of representation have been used. The results show different changes in representation regarding the three themes. In conclusion, the representation of genders has changed over the nine years, thus has the representation of the Latin race and LGBTQ+ community not changed in many significant ways.Heading: Representation of race, gender and LGBTQ+ on Modern Family. Author: Anna Sofia StoiljkovicLevel: Final Exam Project in Media and Communication Studies, 15 hp Institution: School of Arts and Communication (K3)Faculty: Faculty of Culture and Society University: Malmö University Supervisor:Examiner:Term: Spring of 2019Keywords: Media representations, tereotypes, gender, race, LGBTQ+, Modern Family.
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Johns, Jennifer L. "Tracing the connections : Manchester's film and television industry". Thesis, University of Manchester, 2004. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.676506.

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Mullin, Romano Francis. "Reimagining the Renaissance : afterlives in literature, film and television". Thesis, Queen's University Belfast, 2017. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.728197.

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Walsh, Angela. "Obscene intimacies : postmodern portraiture in documentary film and television". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54728.

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The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. Following an overview of the scholarship relevant to my research in Chapter One, Chapter Two will discuss two films by the documentary filmmaker Nick Broomfield, Heidi Fleiss: Hollywood Madam (1995) and Aileen: Life and Death of a Serial Killer (2003). Often maligned in both critical and scholarly circles for failing to interrogate ideology in any meaningful way, I argue that his work operates on a reflexive level to suggest that images fail us when attempting to extract the intimate truth of the individual. In Chapter Three I discuss two examples of reality television series that focus on the lives of individuals, Errol Morris’s First Person (IFC, 2000-2001) and Intervention (A&E, 2005 - ), which demonstrate the persistent need to render the subject in visual terms and make the viewer witness to the most intimate and personal aspects of their lives.
Arts, Faculty of
Theatre and Film, Department of
Graduate
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Libri sul tema "LGBTQ film and television"

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Hakubutsukan, Waseda Daigaku Engeki, a cura di. 2020-nendo Shūki Kikakuten, Inside/out, eizō bunka to LGBTQ+: Inside/out, LGBTQ+ representation in film and television. Tōkyō: Waseda Daigaku Tsubouchi Hakushi Kinen Engeki Hakubutsukan, 2020.

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Claire, Jackson, e Tapp Peter, a cura di. The bent lens: A world guide to gay & lesbian film. St Kilda, Vic., Australia: Australian Catalogue Company, 1997.

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Richard, Dyer, a cura di. Cine y homosexualidad. 2a ed. Barcelona: Laertes, 1986.

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1961-, Varro Gary, e Dunlop Art Gallery, a cura di. Queer city cinema: Coming (out) to a theatre near you. Regina: Dunlop Art Gallery, 1996.

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Julianne, Pidduck, a cura di. Now you see it: Studies in lesbian and gay film. 2a ed. London: Routledge, 2003.

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Julianne, Pidduck, a cura di. Now you see it: Studies on lesbian and gay film. 2a ed. London: Routledge, 2003.

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Jeanne, Hall, a cura di. Gay and lesbian film production and reception. Baltimore, MD: Johns Hopkins University Press, 1992.

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Jeanne, Hall, a cura di. Gay and lesbian film production and reception. Athens, Ohio: Ohio University, School of Film, 1992.

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1947-, Gever Martha, Parmar Pratibha e Greyson John 1960-, a cura di. Queer looks: Perspectives on lesbian and gay film and video. New York: Routledge, 1993.

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Künemund, Jan, e Christian Weber. Queer Cinema now: Die wichtigsten nicht-heteronormativen Filme aus 12 Jahren "sissy". Berlin: Salzgeber, 2022.

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Capitoli di libri sul tema "LGBTQ film and television"

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Beirne, Rebecca, e Samar Habib. "Trauma and Triumph: Documenting Middle Eastern Gender and Sexual Minorities in Film and Television". In LGBT Transnational Identity and the Media, 41–58. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230373310_3.

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Kääpä, Pietari. "Film and television". In Environmental Management of the Media, 187–206. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Routledge studies in environmental communication and media: Routledge, 2018. http://dx.doi.org/10.4324/9781315625690-9.

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Rockler-Gladen, Naomi. "Film and Television". In Race/Gender/Class/Media, 141–44. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351630276-31.

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Lind, Rebecca Ann. "Film and Television". In Race/Gender/Class/Media, 154–211. 5a ed. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003193708-7.

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McIntyre, Phillip, Susan Kerrigan, Janet Fulton, Evelyn King e Claire Williams. "Film and Television". In Palgrave Studies in Creativity and Culture, 323–48. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-45972-6_13.

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Coelho, Inês Rebanda. "Cinema and Television". In Philosophy and Film, 319–41. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-19.

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Sanders, Steven. "Television Noir". In A Companion to Film Noir, 440–57. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118523728.ch26.

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Giannini, Erin. "Life isn't a John Hughes film". In Meta Television, 69–80. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003333029-8.

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Adler, Thomas P., e Nicolas Tredell. "Film and Television Adaptations". In Tennessee Williams, 115–26. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-29283-4_10.

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Hill, John. "From Television into Film". In Ken Loach, 104–33. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92473-8_6.

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Atti di convegni sul tema "LGBTQ film and television"

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Sun, Jing. "On Film and Television Education for Film and Television Industry". In 2018 3rd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icesame-18.2018.31.

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Dickson, Stewart, e Bill Villarreal. "The Gemini Process: A Theatrical-Quality Video-to-Film Transfer Process". In SMPTE Television Conference. IEEE, 1989. http://dx.doi.org/10.5594/m00737.

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Lucht, Philip. "Variable-Resolution Rendering System Extends Television Animation Graphics to Film and Print Media". In SMPTE Television Conference. IEEE, 1987. http://dx.doi.org/10.5594/m00876.

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Li, Xinxin. "Study on Film and Television Literature Criticism". In 2nd International Conference on Culture, Education and Economic Development of Modern Society (ICCESE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccese-18.2018.94.

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Yang, Lun. "The Art of Film and Television Packing". In 2016 International Conference on Education, Management and Computer Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemc-16.2016.40.

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Ning Guan, Hiroiku Tayama e Koichi Ito. "A film antenna for digital terrestrial television reception". In 2010 IEEE International Symposium Antennas and Propagation and CNC-USNC/URSI Radio Science Meeting. IEEE, 2010. http://dx.doi.org/10.1109/aps.2010.5561242.

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Jing, Jiayi. "Analysis of Fashion in Film and Television Works". In 2021 International Conference on Social Development and Media Communication (SDMC 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220105.277.

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Hodge, Winston, Bill Harvey e Robert S. Block. "A Film Quality Digital Archiving & Editing System". In SMPTE Advanced Television and Electronic Imaging Conference. IEEE, 1993. http://dx.doi.org/10.5594/m00673.

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9

Zhang, Chulei, e Kushalatha M R. "Deep Learning Technology in Film and Television Post-Production". In 2023 IEEE International Conference on Integrated Circuits and Communication Systems (ICICACS). IEEE, 2023. http://dx.doi.org/10.1109/icicacs57338.2023.10100148.

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10

Guan, Ning, Hiroiku Tayama, Ryouhei Hosono e Hirotaka Furuya. "A folded film antenna for digital terrestrial television reception". In 2011 IEEE-APS Topical Conference on Antennas and Propagation in Wireless Communications. IEEE, 2011. http://dx.doi.org/10.1109/apwc.2011.6046757.

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Rapporti di organizzazioni sul tema "LGBTQ film and television"

1

Paslavskyi, Ihor. Ukrainian television: problem-content analysis. Ivan Franko National University of Lviv, febbraio 2022. http://dx.doi.org/10.30970/vjo.2022.51.11397.

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Abstract (sommario):
The article highlights and analyzes the factors influencing the activities of television editorial teams in the period of new political, economic and security circumstances. It is noted that all-Ukrainian influential television channels, which have the highest popularity and high ratings, are oligarchic media with a high level of political involvement. Ukrainian television is widely practicing to narrow the thematic range of programs, reports and programs resulting in unjustified dominance in the television space of entertainment and humorous genres, «ravel journalism», excessive overweight of foreign programs and of obsolete quality film production. In the news programs, some TV companies, including 1 + 1, widely emphasize negative issues that are not typical of Ukrainian society, which often has a petty, urban and secondary status. Instead, a wide range of real, socially important, topical issues and problems remain out of the professional attention of journalists, analysts and experts. Guided only by the criterion of rating programs, programs, stories, topics and problems, TVs lose the most active segment among the audience – critical thinking, knowledgeable, erudite recipient, who, choosing an information resource, increasingly prefers the internet journalism.
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2

Ryan, Mark David, Andrew Couzens, Peter Innes e Sue Cake. A Re-Evaluation of Screen Production on the Gold Coast After COVID-19. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244107.

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This study was commissioned by the City of Gold Coast to re-evaluate the size and activity of the film and television production industry on the Gold Coast since the outbreak of COVID-19 in March 2020. Focusing on the period between June 2020 and mid-2023, the study examines the production activity and characteristics of the local screen ecology; the size and growth of the local film, television and games workforce; and the current capacity of film and television sound stages and production facilities. Using both qualitative and quantitative research methodology, primary data was generated through a series of semi-structured interviews with key above-the-line screen content creators and stakeholders; data mining from Screen Queensland’s location and crew online app, IMDb, and City of Gold Coast Screen Attraction data; and ABR and ABS Census data. The findings indicate the employment of film, television and creative specialists on the Gold Coast grew nearly three times more than the average employment growth. The Gold Coast also accounted for between 39% and 71% of Queensland’s total film and television drama production expenditure. The report identified several barriers to continued growth of the film and television industry on the Gold Coast and made a number of recommendations to address these challenges.
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3

Smith, N. A., K. J. Austin, J. Lecocq, D. Lewis, G. Major, T. K. Nielsen, G. Page e P. Schwarcz. Guide for the Lighting of Sports Events for Colour Television and Film Systems, 3rd Edition. International Commission on Illumination (CIE), aprile 2019. http://dx.doi.org/10.25039/tr.083.2019.

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4

Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan e Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, dicembre 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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Abstract (sommario):
The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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