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Artykuły w czasopismach na temat "Dr Who television series"
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BRITTON, P. D. G. "Dress and the Fabric of the Television Series: The Costume Designer as Author in Dr. Who". Journal of Design History 12, nr 4 (1.01.1999): 345–56. http://dx.doi.org/10.1093/jdh/12.4.345.
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Segal, Nancy L. "Twins Living Apart: Behavioral Insights/Twin Study Reviews: Managing Monochorionic-Diamniotic Twin Pregnancies; Paternity Testing in Multiple Pregnancies; Twin Research on Resilience; Trisomies in Twin Pregnancies/Human Interest: Reunited Brazilian Twins; Website for Twins with Disabled Co-Twins; Twins Separated in Secret of the Nile Series; Mengele: Unmasking the Angel of Death; Twins Helping Others". Twin Research and Human Genetics 23, nr 5 (październik 2020): 300–305. http://dx.doi.org/10.1017/thg.2020.71.
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AbstractA brief review of research findings regarding twins living apart is presented. This review is followed by a look into the lives of a pair of monozygotic male twins who have lived in different continents for many years, but who stay closely connected. The reasons behind their decision and its impact on their behavioral resemblance and social relationship quality are examined. The next section summarizes recent studies that address the management of monochorionic-diamniotic twin pregnancies, paternity testing in multiple pregnancies, trisomies in twin pregnancies and the roots of resilience. The final portion of this article presents human-interest stories involving reunited Brazilian twins, a new resource for twins with disabled co-twins, twins separated in the Secret of the Nile television series, a new book about Dr Josef Mengele and his horrific twin experiments conducted at the Auschwitz–Birkenau concentration camp, and a pair of twins dedicated to helping others.
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McAndrew, Michael. "Television Series Review". Language and Psychoanalysis 10, nr 1 (19.06.2021): 53–54. http://dx.doi.org/10.7565/landp.v10i1.5705.
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Showtime’s Couples Therapy (2019-2021) has done something very few shows have done well-showcase real therapeutic treatment on television. The advent of “prestige tv” has led to a proliferation of programs which show the therapeutic relationship in hi definition between protagonists and their therapists, such as HBO’s The Sopranos (1999-2007), and the recently revived In Treatment (2008-2010, 2021). Prior to this the “real” therapy seen on television was limited to the so-called “reality television” trend that gave us the wildly popular Intervention on A&E (2005-ongoing) and the seedier Celebrity Rehab with Dr. Drew (2008-2012).
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Saunders, Robert A., i Joel Vessels. "Televisual diplomacy: I am the Ambassador and Danish nation branding at home and abroad". Politics 39, nr 4 (18.10.2018): 430–47. http://dx.doi.org/10.1177/0263395718805403.
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In a time when the current US president came to office via a career in reality television, it seems unnecessary to argue that popular culture and International Relations intersect in meaningful and dramatic ways. Operating from this premise, mass-mediating the act of diplomacy via a television series presents a fecund object of analysis that questions many of the myths surrounding what we call the ‘diplomatic community’. Consequently, this article is interested in the geopolitical interposition of Danish Broadcasting Corporation (DR) via the popular culture form of reality television. We achieve this through a close reading of the DR series I am the Ambassador/Jeg er ambassadøren fra Amerika (2014–2016), ‘starring’ the real US ambassador to Denmark. We situate Ambassador within the evolving space of ‘new diplomacy’ through an evaluation of how it imagines, popularises, and expands ‘everyday’ sites of diplomacy via mass-mediation. However, as we argue, the series – when viewed holistically – says more about the Danish state and its people than it does about the role of the US ambassador, thus functioning as a tool of nation branding as much at home as abroad.
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Kesirli Unur, Ayşegül. "‘Aesthetic Proximity’ and Transnational TV Series". VIEW Journal of European Television History and Culture 10, nr 19 (24.06.2021): 99. http://dx.doi.org/10.18146/view.197.
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This article focuses on the short lived Turkish police procedural TV series, Cinayet (The Murder, Akbel Film and Adam Film, 2014) which is a scripted format adaptation of the celebrated Danish crime drama Forbrydelsen (DR, 2007-2012). By making a comparative textual analysis of the series, the article intends to emphasize the significance of ‘aesthetic proximity’ as a concept in discussing the global flow of television content and to reveal the challenges of adapting a scripted format which is stylistically different than the local stylistic conventions.
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El-Shall, Maryam. "Therapeutic Solutions, Disciplinary Ethics and Medical Truth on Self-Help TV". Culture Unbound 6, nr 4 (1.10.2014): 837–55. http://dx.doi.org/10.3384/cu.2000.1525.146837.
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This article will consider the use of therapy television – specifically the self-help television program The Dr. Phil Show – as a locus of government. Specifically, I will examine the ways in which ethics are addressed as biopolitical problems of the self through the often disciplinary instruction of the therapist. In this respect The Dr. Phil Show is representative of a shift in the talk show genre away from the tabloid model to a pedagogical model. Self-help talk shows are increasingly concerned with the cultivation of the soul, the production of truth and the discipline of the body. I demonstrate this by analyzing a series of Dr. Phil Show episodes centered on the confession and obesity, respectively. I emphasize the connection between TV expertise – here embodied in the discourse of the expert/therapist Dr. Phil McGraw – and neo-liberal goals requiring subjects to both care, and take responsibility, for themselves.
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Shuster, Martin. "Rewatching, Film, and New Television". Open Philosophy 5, nr 1 (14.12.2021): 17–30. http://dx.doi.org/10.1515/opphil-2020-0163.
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Abstract Those of us who are captivated by new television (the sort of serialized television that began largely in the early 1990s), often find ourselves rewatching episodes or whole series. Why? What is the philosophical significance of the phenomenon of rewatching? In what follows, I engage with the ontology of television series in order to think about these questions around rewatching. I conclude by reflecting on what the entire discussion might suggest about the medium of new television, about ourselves, and also about our world and the possibilities of art in it.
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Vinson, Emily. "Just Say No: Dr Richard I. Evans Efforts to Influence Juvenile Behaviour through US Public Health Programming". VIEW Journal of European Television History and Culture 9, nr 18 (24.12.2020): 7. http://dx.doi.org/10.18146/view.221.
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Television as a means of distributing public health information and influencing health behaviours was recognized even in the earliest days of broadcasting, a natural extension of health messaging on radio and film. This paper examines the place health-focused programming held in the United States’ educational television landscape and the role of Dr Richard I. Evans, social-psychology researcher, who sought to use television to influence the behaviours of youths engaging in “risky” activities.
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Sella Inbar, Anat. "The hermeneutics of casting". Critical Studies in Television: The International Journal of Television Studies 13, nr 3 (21.08.2018): 333–51. http://dx.doi.org/10.1177/1749602018783172.
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This article offers a close reading of the casting in the Israeli drama series BeTipul (the original series for the HBO adaption In Treatment). My analysis views casting as a key mechanism of meaning-making in television series and explores its heightened cultural and social significance in recent Israeli television dramas. I explore, in particular, how through the casting of well-known actors, who have previously portrayed key mythological figures, old national myths are challenged in an almost iconoclastic manner that adds symbolic layers to the series, layers that might be overlooked by viewers who are unfamiliar with the specific cultural background.
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Sawtell, Louise, Stayci Taylor i Helen Jacey. "An interview with Helen Jacey". Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, nr 2 (14.06.2017): 14–18. http://dx.doi.org/10.31165/nk.2017.102.503.
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Dr Helen Jacey is a screenwriter and script consultant, and teaches scriptwriting at Bournemouth University, UK. Her research interests include creative and critical approaches to screenwriting, screenwriting and gender, and screenwriting genre theory. Her book The Woman in the Story: Writing Memorable Female Characters (2010) was the first screenwriting guide for writers developing female driven projects. As a professional writer, she has written numerous film, television and radio projects for UK, US and European production companies and is currently developing a series of crime fiction novels, Elvira Slate Investigations. She is a story consultant for international filmmakers and film agencies.Editors Louise Sawtell and Dr Stayci Taylor asked Dr Jacey a series of questions relating specifically to the themes explored by the special issue: gendered practices, processes and perspectives in screenwriting. The following are the insights generously offered by this leader in the field.
Rozprawy doktorskie na temat "Dr Who television series"
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Veith, Errol. "Screening Science: Contexts, Texts and Science in Fifties Science Fiction Film". Thesis, Griffith University, 1999. http://hdl.handle.net/10072/366488.
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Science fiction films may be viewed as existing as threads within a web, and at the same time constituting the web. The metaphor is apt: texts and contexts and their relationship have a difficult accommodation with each other, an interdependent and dynamic relationship. The text is a thread in the web, as are elements of context, yet the threads are in a symbiotic and constantly changing relationship with each other, as the web is constantly in a state of renewal and change. At the same time, the text itself is a web, as are the various contexts. The threads are both ephemeral and fleeting, while incredibly strong. This thesis is about the polysemy of science fiction film: its subject is the films of the fifties that belong to the genre of science fiction. But the area of study began as an investigation of the science in science fiction films; the way in which films construct that science, the end result of that construction and the totality of the discourse of science in relation to other discourses of power and influence. The investigation of those issues involves a multi-layered investigation into science fiction, in a similar way to Tulloch and Alvarado's approach to the Dr Who television series.1 Approaching science fiction films from a perspective of genre, as in chapter one, uncovers a set of arguments about the science in science fiction, as well as establishing the global nature of some science fiction. These concerns lead into the discussion in chapter two of the social and historical context of the fifties, specifically in the US. Science plays a major role in these contexts, in the sense of the importance of science in creating these contexts (from this perspective) as well as the effects of the application of this science. But the historical and cultural contexts tend to suggest that science fiction films are in large part both a response to the social and historical context, and also create that context. This would not be quite accurate: the production of many science fiction films mobilise other arguments, arguments relating to the industry of Hollywood, and the specific industrial context that gave rise to some very financially successful science fiction films, as well as some films where the budget was good for a few days filming. Science and technology are sometimes important elements in this industrial context as well. Part II traces the nature of science in these films, using the contexts in Part I to anchor the science and its implications and effects. Foregrounded is the debate in which science is both key player and, in many cases, antagonist. The debate is traced and the various representations of science and its nature are tracked and highlighted. Science can cause change, by virtue of its nature of uncovering superstition, but the worth or desirability of that change is open to question. The control of science is a related issue. The thesis examines science at a period that saw the efflorescence of science fiction films. The examination of those films tells us a great deal about the concerns of the time, as well as the science that figures so powerfully in the webs of culture of the fifties.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Film, Media and Cultural Studies
Full Text
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Veith, Errol, i n/a. "Screening Science: Contexts, Texts and Science in Fifties Science Fiction Film". Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20051012.112131.
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Science fiction films may be viewed as existing as threads within a web, and at the same time constituting the web. The metaphor is apt: texts and contexts and their relationship have a difficult accommodation with each other, an interdependent and dynamic relationship. The text is a thread in the web, as are elements of context, yet the threads are in a symbiotic and constantly changing relationship with each other, as the web is constantly in a state of renewal and change. At the same time, the text itself is a web, as are the various contexts. The threads are both ephemeral and fleeting, while incredibly strong. This thesis is about the polysemy of science fiction film: its subject is the films of the fifties that belong to the genre of science fiction. But the area of study began as an investigation of the science in science fiction films; the way in which films construct that science, the end result of that construction and the totality of the discourse of science in relation to other discourses of power and influence. The investigation of those issues involves a multi-layered investigation into science fiction, in a similar way to Tulloch and Alvarado's approach to the Dr Who television series.1 Approaching science fiction films from a perspective of genre, as in chapter one, uncovers a set of arguments about the science in science fiction, as well as establishing the global nature of some science fiction. These concerns lead into the discussion in chapter two of the social and historical context of the fifties, specifically in the US. Science plays a major role in these contexts, in the sense of the importance of science in creating these contexts (from this perspective) as well as the effects of the application of this science. But the historical and cultural contexts tend to suggest that science fiction films are in large part both a response to the social and historical context, and also create that context. This would not be quite accurate: the production of many science fiction films mobilise other arguments, arguments relating to the industry of Hollywood, and the specific industrial context that gave rise to some very financially successful science fiction films, as well as some films where the budget was good for a few days filming. Science and technology are sometimes important elements in this industrial context as well. Part II traces the nature of science in these films, using the contexts in Part I to anchor the science and its implications and effects. Foregrounded is the debate in which science is both key player and, in many cases, antagonist. The debate is traced and the various representations of science and its nature are tracked and highlighted. Science can cause change, by virtue of its nature of uncovering superstition, but the worth or desirability of that change is open to question. The control of science is a related issue. The thesis examines science at a period that saw the efflorescence of science fiction films. The examination of those films tells us a great deal about the concerns of the time, as well as the science that figures so powerfully in the webs of culture of the fifties.
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Ireland, Andrew. "'Conditions of time and space' : a re-enactment experiment with the British TV series Doctor Who". Thesis, Bournemouth University, 2012. http://eprints.bournemouth.ac.uk/20444/.
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The aim of this thesis is to provide a contribution to knowledge in two areas. Firstly, it seeks to further our understanding of the historical conditions of British television drama production; in particular the constraining and liberating influences of production space on the role of the director, and their decision-making process to bring script to screen. Secondly, the work develops the concept of re-enactment as a practice-based augmentation for archive-based textual reconstruction. As such, the thesis offers deeper discussions on the human context missing from current historiographic approaches to broadcast research. The thesis develops a re-enactment methodology that, via practical realisation, allows researchers to gain insight into the production dynamics of a particular era in history to learn about ‘in the moment’ directing decision-making. This is applied to a practice based experiment that includes creating a simulation of 1960s production conditions in order to explore the following research question: how would the decision-making process of producing contemporary television drama be affected by the conditions of 1960s production space? I argue that contemporary location-based production is as constraining as the studio it purports to rise above, yet without the same possibilities for creative reaction to counteract the limitations that historical conditions allowed. As a flagship BBC series reflecting contemporary industry practice, Doctor Who is used as the vehicle for analysis. The experiment focuses on a historical re-enactment of a 2006 episode of Doctor Who, “Tooth and Claw”, written by series executive producer Russell T Davies. The re-enacted audio-visual text is provided on DVD along with artefacts that encapsulate the process of production, informing analysis and reflection.
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Eklund, Thorbjörn. "The use of Digital Visual Effects in contemporary TV-series : An analysis of the use of digital visual effects as a narrative device in the television series Doctor Who, Defiance and Terra Nova". Thesis, Linköpings universitet, Avdelningen för Kultur, samhälle, mediegestaltning – KSM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-109066.
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In this thesis the argument of a new visual language as a narrative device will be discussed and looked at, by analyzing four different TV-series in the science-fiction genre: Terra Nova 2011, Defiance 2013-, Doctor Who 1963 – 1989 and Doctor Who 2005-. It will be possible to see the use of digital visual effects as a narrator in the image. To do this one main question has been asked and to be able to answer that question a framework model has been created, consisting of seven different questions: How are DVFx used as a visual language in the TV-series? What key elements drive the TV-series forward? What influence did DVFx have on the TV-series? How is DVFx used in the series as a narrator? What does DVFx represent in the image? Could the series have been created without DVFx? Techno-enhancement, visual language or hybrid?
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Cochran, Tanya R. "Toward a Rhetoric of Scholar-Fandom". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/51.
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Individuals who consider themselves both scholars and fans represent not only a subculture of fandom but also a subculture of academia. These liminal figures seem suspicious to many of their colleagues, yet they are particularly positioned not only to be conduits to engaged learning for students but also to transform the academy by chipping away at the stereotypes that support the symbolic walls of the Ivory Tower. Because they are growing in number and gaining influence in academia, the scholar-fans of the television series Buffy the Vampire Slayer (Buffy) and other texts by creator Joss Whedon are one focus of this dissertation. Though Buffy academics or Whedon scholars are not the only ones of their kind (e.g., academic- fan communities have cropped up around The Simpsons, The Matrix Trilogy, and the Harry Potter franchise), they have produced more literature and are more organized than any other academic-fan community. I approach all of my subjects—fandom, academia, fan-scholars, and scholar-fans—from a multidisciplinary perspective, employing various methodologies, including autoethnography and narrative inquiry. Taking several viewpoints and using mixed methods best allows me to begin identifying and articulating a rhetoric of scholar-fandom. Ultimately, I claim that Whedon academic-fans employ a discourse marked by intimacy, community, reciprocity, and transformation. In other words, the rhetoric of Whedon scholar-fandom promotes an epistemology—a way of knowing—that in Parker J. Palmer’s paradigm is personal, communal, reciprocal, and transformational.
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Denardin, Jaqueline Angelo dos Santos, i Jaqueline Angelo dos Santos Denardin. "O discurso televisivo e o sujeito transexual: sentidos e silenciamentos na mídia". Universidade Estadual do Oeste do Paraná, 2019. http://tede.unioeste.br/handle/tede/4134.
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From the theorical perspective of the Discourse Analysis (PÊCHEUX, 1969, 1975), attached to the gender studies (BEAUVOIR 1967, 1970; BENTO 2008; BUTLER 2003,2011), this work aims to analyze the series “Quem sou eu?” (Who am I?), which has passed on Fantástico, a program broadcasted by GLOBO Television Network. Being released in four episodes, on four consecutive Sundays, between March and April of 2017, the series approached transsexuality and its relevant demands attached to the transsexual individual, such as: the “choices” of whom was born in a “wrong” body, the impact in the person’s school and academic life due to the fact of being transsexual, the issue of self-medication and treatment(s), the sex reassignment surgery and the relationships in the “transgender world” regarding to familial affection, affection issues and sexual desire. The main goal is to analyze how the series, which is metaphorically narrated inspired by the popular child story “Alice no País das Maravilhas” (Alice in Wonderland) , brings out the topic in a way to start talking about transsexuality, in order to analyze the ideological functioning that permeates the discussions on this topic. Transsexuality has been facing a lot of discussions in the contemporary world covered by intense social impact that justifies the necessity of approaching transsexuality in the scientific production field, so that the conceptions related to this topic will not be mostly based on common sense, allowing the epistemological construction of knowledge on transsexuality. Therefore, this work intends to understand how the experienced effects are sustained – mentioned and not mentioned – in produced discourses – by the media, journalistic discourse, and even to notice the current ideologies in the transsexual individuals’ discourse, as a sense effect – inspired by the topic approached by the series, transsexuality.
Neste trabalho, a partir da perspectiva teórica da Análise de Discurso (PÊCHEUX, 1969, 1975), articulada aos estudos do gênero (BEAUVOIR, 1967,1970; BENTO 2008; BUTLER 2003, 2011), pretendemos analisar a série “Quem sou eu?”, transmitida pelo programa televisivo da Rede Globo de Televisão Fantástico. Realizada em quatro episódios, com circulação em quatro domingos consecutivos, entre os meses de março e abril de 2017, a série abordou o tema da transexualidade e as demandas pertinentes e “inerentes” ao sujeito transexual, tais como: as “escolhas” de quem nasceu no corpo “errado”; a repercussão na vida escolar e acadêmica por ser um sujeito trans; a questão da automedicação e tratamento(s); a cirurgia de transgenitalização e os relacionamentos no “mundo transgênero”, tanto em relação às questões de afeto familiar quanto às questões de desejo sexual. O objetivo principal é analisar como a série, que é narrada, metaforicamente, ancorada na história infantil “Alice no País das Maravilhas”, traz o(s) dizer(es) como um modo de fazer falar o tema da transexualidade. Nossa dissertação tem como intuito analisar o funcionamento ideológico que permeia as discussões feitas pelo programa televisivo acerca desse tema – assunto que tem sido pivô de várias discussões na contemporaneidade com repercussão social intensa, o que justifica cientificamente a nossa pesquisa e a necessidade de abordar a transexualidade no espaço de produção científica, para que não tenha, como dito, somente o que é produzido pelo senso comum, possibilitando, assim, uma construção epistemológica do conhecimento e saberes sobre a transexualidade. Portanto, este trabalho teve a intenção de compreender como se sustentam efeitos de sentidos – ditos e não ditos – em dizeres produzidos pelo discurso televisivo de tal programa; ademais, analisou como os sujeitos trans se dizem e são ditos nessa série sobre sua transexualidade.
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Favard, Florent. "La promesse d'un dénouement : énigmes, quêtes et voyages dans le temps dans les séries télévisées de science-fiction contemporaines". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30045/document.
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Il est question d’analyser une tendance marquée des séries de science-fiction contemporaines, qui proposent un récit complexe et feuilletonnant, impliquant une intense participation de la part des spectateur.ice.s ; ces dernie.re.s se voient promettre, via l’énigme, la quête et/ou le voyage dans le temps, un dénouement qui serait la conséquence logique des évènements mis en scène. Au travers des énigmes de Lost (2004-2010, ABC), de la quête des humains dans Battlestar Galactica (2004-2009, Sci-Fi) ou de l’utilisation du voyage dans le temps dans Doctor Who (2005- ?, BBC1), il est possible de déceler des mécanismes narratifs visant à entretenir l’illusion d’une progression réfléchie vers un dénouement tantôt mis en avant, tantôt repoussé, dans un contexte de production où les scénaristes ne sont pas maîtres de leur récit. Babylon 5 (1993-1999, TNT), série dont le récit a été effectivement prévu à l’avance, sert de maître-étalon, tandis que Fringe (Fox, 2008-2013) permet d’envisager les limites de cette tendance. La capacité de ces programmes à construire une « intrigue macroscopique » à l’échelle de la série toute entière, éclaire plus largement les processus narratifs à l’œuvre dans la majorité des séries narrativement complexes contemporaines (au sens de Mittell). Au fil des liens avec l’intrigue des cycles littéraires, et d’une méthodologie centrée sur la visualisation de l’intrigue macroscopique, on peut, en s’appuyant sur une narratologie des séries télévisées encore expérimentale, entrevoir une poétique de l’écriture prospective télévisuelle. Dans une perspective contextualiste, il est vital de garder en vue les conditions d’écriture, de production et de réception de ces objets atypiques ; en retour, ces récits prospectifs apportent un nouvel éclairage au projet d’une narratologie transmédiatique porté par les études contemporaines du récitThe aim of this work is to analyse a specific trend in contemporary science-fiction TV series : narratively complex programs (Mittell) that require an increased investment from the viewer and seem to make the promise of a logical and fulfilling ending where truth is revealed, quests are achieved and time-travel paradoxes are resolved. Looking at the mysteries from Lost (2004-2010, ABC), the quest of the Thirteenth Tribe in Battlestar Galactica (2004-2009, Sci-Fi) or the never-ending use of time-travel in Doctor Who (2005- ?, BBC1), it is possible to isolate narrative mechanisms that alternately foreshadow and defer the ending, in a world where writers can’t have full control over the plot. Babylon 5 (1993-1999, TNT), a show written in advance by its creator, will be our Rosetta Stone, while Fringe (Fox, 2008-2013) will take us to the edge of that growing trend. These programs’ ability to construct a “macroscopic plot” on the scale of the entire series, shines a light on narrative process operating in the majority of narratively complex TV series. Taking a closer look at research on literary cycles, and creating narrative diagrams to visualize this macroscopic plot, it is possible to outline a poetic of prospective writing, drawing on television series narratology. Following a contextualist view, it is important to consider the writing, production, reception of these programs; in return, studying macroscopic plots in TV series can give new clues for transmedial narratology (Herman)
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Kužel, Martin. "Mytologie v seriálu Doctor Who". Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-340244.
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Main focus of my Master's Thesis is to conduct a research of mythological elements and themes that appear within the narrative structure of selected episodes of BBC television series Doctor Who, deriving from the initial hypothesis that such mythological patterns are still recurring and repeating even in the structure of stories produced by modern show-business industries, which renders their content intrinsically more attractive for any audience. We analyse selected episodes from both arks of the Doctor Who's story individually - the old one, which began in the sixties, and the new one, which is considered to be a reboot of the original series and aired in 2005. The originally intended educative element of the series and its sudden disappearance is also a part of our research. Main analysis of our paper consists of a semiotic analysis of the text of the television series utilizing the point of view of the critical reader that was introduced by Umberto Eco, and deriving from the definition of modern myth that appears in works of Roland Barthes, archaic myth, studied for example by Carl Lévi- Strauss, and Jungian archetypes.
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Carstens, Christoffel. "Invloed van televisie op die verwestersingsproses by die Swart adolessent". Thesis, 1995. http://hdl.handle.net/10500/16335.
Pełny tekst źródłaKsiążki na temat "Dr Who television series"
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Top Trumps: Doctor Who. Newbury Park, CA: Haynes North America, Inc., 2006.
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Gifford, Clive. So you think you know Dr Who? London: Hodder Children's Books, a division of Hachette Children's Books, 2007.
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Mark, Stammers, i Walker Stephen James, red. Doctor Who the handbook: The sixth doctor. London: Doctor Who Books, 1993.
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Mark, Stammers, i Walker Stephen James, red. Doctor Who: The Handbook: The Fourth Doctor. London: Doctor Who Books, 1992.
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James, Walker Stephen, red. Doctor Who the handbook: The fifth doctor. London: Doctor Who Books, 1995.
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Mark, Stammers, i Walker Stephen James, red. Doctor Who the handbook: The first doctor. London: Doctor Who Books, 1994.
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Burk, Graeme. Who is the doctor: The unofficial guide to Doctor Who, the new series. Toronto: ECW Press, 2012.
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1966-, Rigelsford Adrian, red. Calling the Shots: Directing the New Series of Doctor Who. London: Reynolds & Hearn, 2007.
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Langley, R. H. The Doctor Who error finder: Plot, continuity, and production mistakes in the television series and films. Jefferson, N C: McFarland & Co., 2005.
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Doctor Who: The Encyclopedia: The Definitive Guide to the Hit BBC Series. [London]: BBC Books, 2011.
Znajdź pełny tekst źródłaCzęści książek na temat "Dr Who television series"
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Raats, Tim, i Karen Donders. "Television Distribution in Flanders: Who Takes the Lead and Is Content Always King?" W Springer Series in Media Industries, 125–43. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44850-9_7.
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"CHAPTER 1 What Is Meta and Who Uses the Term?" W Meta in Film and Television Series, 3–18. Edinburgh University Press, 2022. http://dx.doi.org/10.1515/9781399508056-004.
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"Rematerialization: Musical Engagements with the British TV Series Doctor Who". W Music in Science Fiction Television, 155–70. Routledge, 2012. http://dx.doi.org/10.4324/9780203076330-17.
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Scott, Michael, i David Wilson. "Greece in the Making: From Intention to Practicalities in Television Documentaries. A Conversation with". W Ancient Greece on British Television, 203–23. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474412599.003.0011.
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Drawing upon the experiences and expertise of the presenter and historian Dr Michael Scott and the director and producer David Wilson, who worked together on the BBC4 documentaries Delphi: The Bellybutton of the Ancient World (2010), Guilty Pleasures: Luxury in Ancient Greece (2011) and Ancient Greece: The Greatest Show on Earth (2013), this chapter examines the contingencies and complexities of putting ancient Greece on screen. In conversation with Fiona Hobden, one of the editors of this volume, Scott and Wilson explore the production process from commissioning to writing, and through filming and editing. In particular they highlight how television treatments of ancient Greece are variously informed by commissioning agendas, financial budgets, physical conditions and practical constraints during on-location filming, and the technological possibilities of the medium. In the process they shed light on the character and value of ancient Greece on television, and its persistent appeal to a section of the audience.
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Hughes, Kit. "Conclusion". W Television at Work, 207–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855789.003.0007.
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Acting as an extended “acknowledgments,” the conclusion addresses the conditions of possibility that enabled research for the book—both the individuals who shared their time and resources, and the institutions, especially archives, that shaped this work. The author also describes a series of interviews and interactions with corporate communications consultants, television directors and producers, trade organization leadership, authors, teachers, and market researchers who guided her investigations into corporate television. It argues that it is necessary to distinguish between the desires of multinational capital and the aims of the people who devoted their lives to television at work, many of whom were (and are) sincerely invested in making the workplace more humane. In following this latter ambition—the workplace as an opportunity to build community, as locus of personal connection and self-actualization—it may be possible to renew attempts to build broad-based worker solidarity by developing the conditions of possibility for just labor.
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Geraghty, Lincoln. "Fans, Fezzes, and Freebies". W Transatlantic Television Drama, 257–72. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0016.
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Following the reboot of Doctor Who and the popularity of Sherlock, the BBC has become a major exporter of quality television to the world. One sign of the success of UK television in the United States comes at the annual San Diego Comic-Con, where BBC America has made a concerted effort to build a loyal US audience. This chapter analyzes the importance of Comic-Con in the transnational circulation of British television texts within the American industry. Comic-Con provides a space for the promotion of UK television brands where American and British fans can meet, and where international media companies mingle with US conglomerates. There is a transatlantic trade relationship between the United States and United Kingdom; at Comic-Con, the BBC and its flagship series Doctor Who and Sherlock compete with networks such as CBS and HBO. Through the targeted promotion of British branding these series have become successful transnational commodities.
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Booth, Paul. "Crossing over the Atlantic". W Transatlantic Television Drama, 291–304. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190663124.003.0018.
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This chapter explores a fan-created digital mashup, SuperWhoLock, which combines elements from the US TV series Supernatural and UK shows Doctor Who and Sherlock (the latter two being linked, at the time, by a shared showrunner, Steven Moffat). It explores SuperWhoLock’s distinctive “transfandom” as a resolutely transcultural practice especially linked to sites such as Twitter and Tumblr. This fan-created crossover “show” conveys a fantastical Anglophilia for some transcultural fans, as well as multiple differences being posited between the “official” US/UK TV texts by fans, with some of these distinctions focusing on “heritage” rather than national meanings. The chapter concludes by looking at sentiment analysis via social media, using the Crimson Hexagon analytics engine, as well as considering one specific connecting word, “vanished.” Although SuperWhoLock’s time may now have passed, it remains indicative of digital fandom’s transcultural creativity, its relationship to remix culture, and its crossing of textual and national borders.
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Sonmezturk, Hasan H. "Teaching Case Discussions with Dr. Sonmezturk". W Atlas of EEG, Seizure Semiology, and Management, redaktorzy Karl E. Misulis, Hasan H. Sonmezturk, Kevin C. Ess i Bassel Abou-Khalil, 404–11. Oxford University Press, 2022. http://dx.doi.org/10.1093/med/9780197543023.003.0036.
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This chapter presents a series of three cases from the teaching files of Dr. Sonmezturk, who is Director of the Intraoperative Neuro-Monitoring Service and ICU EEG Monitoring Services at Vanderbilt University Hospital.
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Ess, Kevin C. "Pediatric Teaching Case Discussions with Dr. Ess". W Atlas of EEG, Seizure Semiology, and Management, redaktorzy Karl E. Misulis, Hasan H. Sonmezturk, Kevin C. Ess i Bassel Abou-Khalil, 399–403. Oxford University Press, 2022. http://dx.doi.org/10.1093/med/9780197543023.003.0035.
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Prata, Alcina. "Interactive Television Research Opportunities". W Encyclopedia of Multimedia Technology and Networking, Second Edition, 763–68. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch103.
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There is no doubt that interactive TV (iTV), which may be defined as a TV system that allows the viewer to interact with an application that is delivered simultaneously, via a digital network, in addition to the traditional TV signal (Perera, 2002), will replace traditional passive TV viewing habits. In fact, this technology enables a wide range of new interactive services, applications, and features that are becoming increasingly successful. In regard to interactive services, we have the traditional iTV service (which implies interacting with an application that is simultaneously broadcasted along with the TV program), the electronic program guide (EPG) which allows the management of the enormous amount of available channels/programs and the easy selection of them based on different criteria (title, author, date, time, genre, etc.), and Internet services which include e-mail, chat, WWW, shopping, banking, and so forth. As far as iTV applications are concerned, and following Livaditi, Vassilopoulou, Lougos, and Chorianopoulos (2003), it is possible to identify four basic categories of content: entertainment (content associated with films, series, and quizzes); information (content associated with news of all kind); transactions (content used to order/purchase goods), and communication (content that involve or require the exchange of messages). The success of iTV has mostly been due to the possibility of using different kinds of services, applications, and features through a unique and trustable device such as TV. Considering that European Internet penetration rates of around 40-60% and TV penetration rates of around 95-99% (Bates, 2003), we may anticipate a bright future for this new technology. However, as happens with any recent and emergent area, in spite all the advantages, there are many difficulties to overcome and research to be carried out. The main goal of this article is to bring together in one single source the most important research opportunities associated with iTV and, in some cases, present specific suggestions for future developments. For the purpose of this article, it is assumed that the person who interacts with an iTV system may be considered as a viewer (when viewing a traditional TV program and from a mass communication perspective) but also a User (when using the iTV application and from a Human Computer Interface - HCI - perspective). Thus, henceforth those who interact with iTV will be designated as Viewers/Users (V/Us).
Streszczenia konferencji na temat "Dr Who television series"
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Meher-Homji, Cyrus B., i Erik Prisell. "Pioneering Turbojet Developments of Dr. Hans von Ohain — From the HeS 1 to the HeS 011". W ASME 1999 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/99-gt-228.
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On March 13th, 1998, Dr. Hans Joachim Pabst von Ohain co-inventor of the turbojet passed away at the age of 86. As a young doctoral student, von Ohain conceived of and built a demonstrator turbojet engine. He was hired by the Heinkel Aircraft Company in 1936 and under intense time pressure imposed by Ernst Heinkel, designed the world’s first flight turbojet engine. This paper traces the technical antecedents leading to historic jet-powered flight made on August 27, 1939 by a Heinkel He 178 aircraft powered by von Ohain’s HeS 3B turbojet. During his tenure at Heinkel and thereafter at the Heinkel-Hirth Company, he was responsible for a series of turbojet engines culminating in the advanced second generation HeS 011 with a thrust of 2,860 lbs. This paper is a tribute to an outstanding scientist who made possible the turbojet revolution and who will forever be remembered as the inventor of the world’s first flight turbojet.
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Evans, Jeff, Peter Neilson, Jordan Rath, John DeWitt, Peter Laz i Mohammad Mahoor. "Design of an Eye Tracking System Enabling Communication for TBI and SCI Patients". W ASME 2012 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/sbc2012-80214.
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Some patients who have suffered a traumatic brain injury (TBI) or a spinal cord injury (SCI) lose the ability to operate a computer via traditional methods (mouse and keyboard) or common alternative methods (voice control). The inability to move or speak makes it extremely difficult to communicate. Currently patients must rely on blinking yes or no to a series of questions that the caretaker asks in order to communicate their wants and needs. This system relies on the caretaker anticipating the patient’s needs in a timely manner which is not ideal. The purpose of this Senior Capstone Design project is to develop an eye tracking system to allow TBI and SCI patients to operate a computer exclusively using eye movements. Occupational Therapists at Craig Hospital, a recognized leader in TBI and SCI patient care, have provided the design team with access to a focus group of patients and insight into the needs and constraints of their patient population. With the ability to operate a computer, the patient will have the ability to more fully engage in communication by typing words on a screen for their caretakers to read and in a broader sense: e-mail and instant message family and friends as well as engage in social networking sites. The ability to control a computer allows for choices in entertainment from music to television to newspapers and magazines.
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Klein, Joseph. "Performance of Simple and Complex Computerized Learning Tasks: Division of Attention vs. Division of Labor". W InSITE 2009: Informing Science + IT Education Conference. Informing Science Institute, 2009. http://dx.doi.org/10.28945/3296.
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The need to divide attention in order to deal with information flowing in from a number of sources is observable in many work settings. Although most people can perform several simple activities concurrently, such as eating and watching television (Sharon, 1997), making simultaneous decisions is difficult (Pashler & Johnston, 1998). For the majority, task overload causes errors in performance (Girard, 2007), a decline in the quality of treatment (Ruthruff et al., 2001), and longer reaction time (Levy et al., 2006). The few who cope efficiently under such circumstances employ different cognitive strategies. Teamwork is one way of managing multiple demands. Group work makes it possible to deal with larger amounts of information and to generate a variety of ideas as well as to minimize faulty conclusions. On the other hand, individuals make speedier and better decisions, and are not subject to the tensions of interplay (Davis and Toseland, 1987). The literature offers little information on methods of testing the conditions under which tasks should be handled by one agent or a team. The educational project described here was conducted comparing efficiency of performance of a series of tasks by individuals and small groups. 116 participants, ranging in age from high school level through holders of Masters' degrees, 58 women and the same number of men, were presented with a computer game based on educational software. Participants were instructed to manipulate a tracker by means of the keyboard in order to contact a target moving randomly on the screen. The game was arranged in five levels of difficulty. A comparison was made of the speed in which objectives were attained when performed individually and when divided among groups of two to four partners, controlling for the type of coordination, cognitive style and additional background variables. Cases of expedient and inexpedient division of labor were identified, as were factors affecting feasibility. Among the latter were the size of the simultaneous task load, complexity level, number of participants, and the intensity of coordination required among them.
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Hill, Rodrigo, i Tom Roa. "Place-making: Wānanga based photographic approaches". W LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.188.
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Ka matakitaki iho au ki te riu o Waikato Ano nei hei kapo kau ake maaku Ki te kapu o taku ringa, The words above are from the poem Māori King Tawhiao wrote expressing his love for his homelands of the Waikato and the region known today as the King Country. The words translate to: “I look down on the valley of Waikato, As though to hold it in the hollow of my hand.” Now imagine a large-scale photograph depicting a close-up frame of cupped hands trying to hold something carefully. The words above inform Professor Tom Roa and Dr. Rodrigo Hill’s current research project titled Te Nehenehenui - The Ancient Enduring Beauty in the Great Forest of the King Country. With this project still in its early stages the research team will present past collaborations which they will show leads into new ideas and discussions about photography, wānanga, and place representation. They focus on Māori King Tawhiao’s finding refuge in Te Nehenehenui, later called the King Country in his honour. He led many of his Waikato people into this refuge as a result of the British Invasion and confiscation of their Waikato lands in the latter part of the nineteenth century. The love of and for those lands prompted him to compose his ‘maioha’ - this poem painting a word-picture of these spaces which their photography humbly aims to portray. The project advances the use of wānanga (forums and meetings through which knowledge is discussed and passed on) and other reflective practices, engaging with mana whenua and providing a thread which will guide the construction of the photographic images. The name Te Nehenhenui was conceptualised by Polynesian ancestors who travelled from Tahiti and were impressed with the beauty of the land and the vast verdant forests of the King Country territories in the North Island of Aotearoa New Zealand. The origins of the name and further relevant historical accounts have been introduced and discussed by Professor Tom Roa (Ngāti Apakura, Ngāti Hinewai), Shane Te Ruki (Ngāti Unu, Ngāti Kahu) and Doug Ruki (Ngāti Te Puta I Te Muri, Ngāti Te Kanawa, Ngāti Peehi) in the TVNZ Waka Huia documentary series. The documentary provides a compelling account of the origins of the name Te Nehenehenui, thus informing this project’s core ideas and objectives. The research fuses wānanga, that is Mātauranga Māori, and photographic research approaches in novel ways. It highlights the importance of local Waikato-Maniapoto cosmological narratives and Māori understandings of place in their intersecting with the Western discipline of photography. This practice-led research focuses on photography and offers innovative forms of critical analysis and academic argumentation by constructing, curating, and presenting the photographic work as a public gallery exhibition. For this edition of the LINK Conference, the research team will present early collaborations and current research developments exploring place-making and wānanga as both methodology and photography practice.
Raporty organizacyjne na temat "Dr Who television series"
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NDC Learning Series – ‘Behaviour that challenges’ recording. ACAMH, listopad 2021. http://dx.doi.org/10.13056/acamh.18428.
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We were delighted to welcome Dr. Mark Lovell and Dr. Steph Carr, with a session that will focus on 'Behaviour that challenges'. The Chair for this session was Dr. Max Davie. This is the third of the 'NDC Learning Series' aimed at health professionals who come into contact with children and young people who have Neurodevelopmental conditions (NDCs).
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‘NDC Learning Series’ – NDCs in schools. ACAMH, grudzień 2021. http://dx.doi.org/10.13056/acamh.18492.
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We welcomed Dr. James Galpin with a session that focused on 'NDCs in schools'. The Chair of this session was Dr. Mark Lovell. This was the fourth of the 'NDC Learning Series' aimed at health professionals who come into contact with children and young people who have Neurodevelopmental conditions (NDCs).
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‘NDC Learning Series’ – Communication and functional skills – recording. ACAMH, styczeń 2022. http://dx.doi.org/10.13056/acamh.18712.
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This was the final of the ‘NDC Learning Series’ aimed at health professionals who come into contact with children and young people who have Neurodevelopmental conditions (NDCs). We welcomed Dr. Lucy Sanctuary, and Occupational Therapist Dr. Sally Payne, to discuss ‘Communication and functional skills’. The Chair of this session was Dr. Mark Lovell.
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‘NDC Learning Series’ – Medications and Physical Health recording. ACAMH, grudzień 2021. http://dx.doi.org/10.13056/acamh.18623.
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We welcomed Dr. Mark Lovell and Dr. Max Davie. with a session that will focus on 'Medications and Physical Health'. The Chair of this session was Dr. Ann Ozsivadjian. This was the fifth, of the 'NDC Learning Series' aimed at health professionals who come into contact with children and young people who have Neurodevelopmental conditions (NDCs).
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‘Relative Age and Specific Learning Disorder Diagnosis’ – In Conversation with Dr. Bianca Arrhenius. ACAMH, kwiecień 2021. http://dx.doi.org/10.13056/acamh.15518.
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With the launch of our third journal, JCPP Advances, we're bringing you a series of podcasts that focus on the papers and editors featured in the publication. In this podcast we speak to Dr. Bianca Arrhenius, medical doctor from Helsinki, Finland, and PhD student at the University of Turku, who is lead author on the paper 'Relative Age and Specific Learning Disorder Diagnosis'.
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Managing Impulsive and Risky Behaviour – Episode 6 ‘ADHD, A Young Person’s Guide’. ACAMH, październik 2022. http://dx.doi.org/10.13056/acamh.21276.
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(TRIGGER WARNING: Please be aware that this podcast discusses self-harm, substance abuse, sexual consent, and behaviours that can be described as impulsive or risky.)
Hosted by Dr. Blandine French, this podcast series focuses on attention-deficit/hyperactivity disorders (ADHD) and is designed to help young people and their families. This episode focuses on managing impulsive and risky behaviour, and Blandine is joined by Ruth Pearse, from Parenting Special Children. This podcast also features clips from two young adults, Emily and Alex, who share their lived experiences of ADHD, and managing impulsive and risky behaviour.
We are delighted to produce this podcast series in partnership with Clinical Partners, the UK’s largest private mental health partnership.