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Статті в журналах з теми "190204 Film and Television"

Щоб переглянути інші типи публікацій з цієї теми, перейдіть за посиланням: 190204 Film and Television.

Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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Ознайомтеся з топ-50 статей у журналах для дослідження на тему "190204 Film and Television".

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1

Shirobokov, A. N. "DOCUMENTARY TELEVISION FILM." RUDN Journal of Studies in Literature and Journalism 22, no. 2 (2017): 361–67. http://dx.doi.org/10.22363/2312-9220-2017-22-2-361-367.

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2

Yaron Peleg. "Israeli Film and Television." Jewish Film & New Media 3, no. 1 (2015): 1. http://dx.doi.org/10.13110/jewifilmnewmedi.3.1.0001.

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3

Thompson, Philippa. "Using film and television." Practical Pre-School 2004, no. 46 (July 2004): 19–20. http://dx.doi.org/10.12968/prps.2004.1.46.39999.

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4

Featherstone, Lisa, and Nonie Sharp. "Film and Television Reviews." History Australia 10, no. 1 (January 2013): 212–16. http://dx.doi.org/10.1080/14490854.2013.11668454.

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5

Uricchio, William. "Film, cinema, television … media?" New Review of Film and Television Studies 12, no. 3 (June 24, 2014): 266–79. http://dx.doi.org/10.1080/17400309.2014.926656.

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6

Given, Jock. "Researching Film & Television." Media Information Australia 73, no. 1 (August 1994): 11–15. http://dx.doi.org/10.1177/1329878x9407300105.

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7

Partello, Peggie. "Film and Television Literature Index." Charleston Advisor 12, no. 1 (July 1, 2010): 17–19. http://dx.doi.org/10.5260/chara.12.1.17.

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8

Tracy, Tony. "Irish Film and Television -2006-." Estudios Irlandeses, no. 2 (March 15, 2007): 251–86. http://dx.doi.org/10.24162/ei2007-2740.

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9

Tracy, Tony. "Irish Film and Television -2007-." Estudios Irlandeses, no. 3 (March 15, 2008): 213–62. http://dx.doi.org/10.24162/ei2008-3105.

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10

Tracy, Tony. "Irish Film and Television – 2009." Estudios Irlandeses, no. 5 (March 15, 2010): 203–55. http://dx.doi.org/10.24162/ei2010-2486.

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11

Tracy, Tony. "Irish Film and Television – 2010." Estudios Irlandeses, no. 6 (March 15, 2011): 191–224. http://dx.doi.org/10.24162/ei2011-2119.

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12

Flynn, Roddy, and Tony Tracy. "Irish Film and Television -2012-." Estudios Irlandeses, no. 8 (March 15, 2013): 195–231. http://dx.doi.org/10.24162/ei2012-1393.

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13

Tracy, Tony, and Roddy Flynn. "Irish Film and Television – 2011." Estudios Irlandeses, no. 7 (March 15, 2012): 201–33. http://dx.doi.org/10.24162/ei2012-1988.

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14

Flynn, Roddy, and Tony Tracy. "Irish Film and Television -2012-." Estudios Irlandeses, no. 8 (March 15, 2013): 195–231. http://dx.doi.org/10.24162/ei2013-1393.

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15

Flynn, Roddy, and Tony Tracy. "Irish Film and Television -2013-." Estudios Irlandeses, no. 9 (March 15, 2014): 208–37. http://dx.doi.org/10.24162/ei2014-4739.

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16

Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2014." Estudios Irlandeses, no. 10 (March 15, 2015): 190–235. http://dx.doi.org/10.24162/ei2015-5161.

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17

Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2015." Estudios Irlandeses, no. 11 (March 15, 2016): 275–320. http://dx.doi.org/10.24162/ei2015-6302.

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18

Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2015." Estudios Irlandeses, no. 11 (March 15, 2016): 275–320. http://dx.doi.org/10.24162/ei2016-6302.

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19

Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2016." Estudios Irlandeses, no. 12 (March 15, 2017): 252–79. http://dx.doi.org/10.24162/ei2017-7365.

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20

Flynn, Roddy, and Tony Tracy. "Irish Film and Television – 2018." Estudios Irlandeses, no. 14 (March 16, 2019): 294–327. http://dx.doi.org/10.24162/ei2019-9023.

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21

Tracy, Tony, and Roddy Flynn. "IRISH FILM AND TELEVISION – 2019." Estudios Irlandeses, no. 15 (March 17, 2020): 296–329. http://dx.doi.org/10.24162/ei2020-9568.

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22

Flynn, Roddy. "IRISH FILM AND TELEVISION – 2021." Estudios Irlandeses, no. 17 (March 17, 2022): 284–320. http://dx.doi.org/10.24162/ei2022-11036.

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23

Shuster, Martin. "Rewatching, Film, and New Television." Open Philosophy 5, no. 1 (December 14, 2021): 17–30. http://dx.doi.org/10.1515/opphil-2020-0163.

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Анотація:

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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24

McBride, Stephanie. "Film & Television: TV Dinners." Circa, no. 65 (1993): 7. http://dx.doi.org/10.2307/25557813.

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25

McBride, Stephanie. "Film & Television: Surface Tension." Circa, no. 80 (1997): 7. http://dx.doi.org/10.2307/25563128.

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26

McBride, Stephanie. "Film & Television: Promotional Representation." Circa, no. 82 (1997): 7. http://dx.doi.org/10.2307/25563202.

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27

McBride, Stephanie. "Film & Television: TV Dinners." Circa, no. 83 (1998): 6. http://dx.doi.org/10.2307/25563239.

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28

McBride, Stephanie. "Film and Television: Bard Timing." Circa, no. 87 (1999): 5. http://dx.doi.org/10.2307/25563363.

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29

McBride, Stephanie. "Film and Television: Generic Engineering." Circa, no. 95 (2001): 7. http://dx.doi.org/10.2307/25563664.

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30

McBride, Stephanie. "Film and Television: Class Struggles." Circa, no. 97 (2001): 09. http://dx.doi.org/10.2307/25563721.

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31

McBride, Stephanie. "Film and Television: Moving Pictures." Circa, no. 102 (2002): 13. http://dx.doi.org/10.2307/25563866.

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32

McBride, Stephanie. "Film and Television: Exquisite Corpses." Circa, no. 104 (2003): 18. http://dx.doi.org/10.2307/25563957.

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33

McBride, Stephanie. "Film and Television: Narrative Closure?" Circa, no. 106 (2003): 16. http://dx.doi.org/10.2307/25564046.

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34

McBride, Stephanie. "Film and Television: Joyce Cuts." Circa, no. 108 (2004): 21. http://dx.doi.org/10.2307/25564131.

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35

McBride, Stephanie. "Film and Television: Operating Theatre." Circa, no. 111 (2005): 31. http://dx.doi.org/10.2307/25564262.

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36

Hoskins, Colin, Stuart McFadyen, Adam Finn, and Anne Jackel. "Film and Television Co-Production." European Journal of Communication 10, no. 2 (June 1995): 221–43. http://dx.doi.org/10.1177/0267323195010002004.

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37

Barrett, Deirdre. "Hypnosis in Film and Television." American Journal of Clinical Hypnosis 49, no. 1 (July 2006): 13–30. http://dx.doi.org/10.1080/00029157.2006.10401549.

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38

Jewell, Richard B. "Film, Television, and Visual Communication." American Journalism 7, no. 3 (July 1990): 173–78. http://dx.doi.org/10.1080/08821127.1990.10731271.

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39

Murphy, Amanda, Rowan Aust, Vanessa Jackson, and John Ellis. "16mm Film Editing for Television." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 7. http://dx.doi.org/10.18146/2213-0969.2015.jethc077.

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Анотація:

Two television editors who once worked with 16mm film discuss and explore their former working methods and demonstrate how to make a picture cut using film. The method of ‘hands-on history’ used for this simulation is discussed, as are the problems of presenting such data.

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40

Hou, Xinyan. "Research on the Conception of Auditory Creation of Film and Television Directors." Arts Studies and Criticism 3, no. 5 (November 16, 2022): 324. http://dx.doi.org/10.32629/asc.v3i5.1066.

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Анотація:

In the process of film and television director's creation, a very important work is audio-visual conversion, but there are few relevant materials about the director's auditory creation idea. For novice film and television directors, auditory design is abstract at the beginning, and they cannot grasp what is the key point. Film and television director is the core character in film and television creation,who is also the responsible person in film and television work quality control. The quality of a work of art is closely related to the script. From the aspect of film and television creation, the level of audio-visual creation, the skill of visual creation and the ability of director artistic creation are closely and directly related. Under normal circumstances, the director will do two things strictly during the creation of film and television works. First, the film and television structure should be reasonably planned. Second, the hierarchical composition of film and television creation elements should be strictly controlled. The process of film and television creation means to choose the structure of film and television works, and strive to be real in the process of selection, from a small shot to the whole film, so as to form an organic whole. When selecting materials, film and television directors also need to make special treatment on the basis of film and television creation effects, and make use of different elements to form different film and television levels and film and television structures, so as to provide conditions for achieving the expected artistic effects.

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41

Gledhill, Christine, Rona Murray, and Emma Sandon. "Doing women’s film and television history: the Women’s Film and Television History Network UK/Ireland." Screen 60, no. 3 (2019): 483–91. http://dx.doi.org/10.1093/screen/hjz024.

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42

Sun, Lin. "Research on Digital Media Art Film and Television Special Effects Technology Based on Virtual and Reality Algorithm." Scientific Programming 2022 (September 24, 2022): 1–7. http://dx.doi.org/10.1155/2022/4424772.

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Анотація:

Art special effects, as a kind of new media art form, bring different visual impacts to viewers in film and television animation. This study discusses the application of digital media art film and television special effects’ technology through virtual and realistic algorithms. The wide application of digital media art film and television special effects’ technology has achieved the purpose of saving production time and cost for the creation of film and television dramas. Through the comprehensive analysis and research on art creation, image impact, film viewing perception, and natural interactive emotion under different technological environments, and the analysis of the comparison results, it can be seen that digital media art film and television special effects’ technology has a far-reaching impact on film and television animation, can better carry out the sustainable development of film and television field, also promote the sustainable development of science and technology to a certain extent, promote the modern development of digital media art design, support society's continuous development and progress, and better promote the all-round integration of digital media art and film and television creation.

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43

Arnold, Sarah, and Anne O'Brien. "Doing women’s film & television history." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 3–11. http://dx.doi.org/10.33178/alpha.20.01.

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Анотація:

The scholarship collected in this issue of Alphaville represents a selection of the research that was to be presented at the 2020 Doing Women’s Film & Television History conference, which was one of the many events cancelled as a result of the Covid-19 pandemic. The pandemic itself greatly impeded academic life and our capacity to carry out and share research among colleagues, students and the public. Covid-19 was even more problematic for women, who shouldered a disproportionate care burden throughout the pandemic. Therefore, we are particularly delighted to be able to present an issue that addresses a number of topics and themes related to the study of women in film and television, including, but not limited to, the production and use of archival collections for the study of women’s film and television histories; the foregrounding of women in Irish film and television histories; women’s productions and representation in films of the Middle East; representations of sex and sexuality in television drama; and women’s work and labour in film and television. The breadth of the themes covered here is indicative of the many ways in which scholars seek to produce, describe and uncover the histories and practices of women in these media. They suggest opportunities for drawing attention to women’s work, whether that is labouring in the film and television industries or the work that women’s images are put to do on screen. Collectively, the articles contained in this issue point to a multitude of opportunities for doing and producing women’s film and television histories, either as they occurred in the past or as they materialise in the present. They offer correctives to absences and marginalisation in production histories, in archiving or preservation, and in representation.

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44

Tracy, Tony. "Irish Film and Television Review – 2008." Estudios Irlandeses, no. 4 (March 15, 2009): 148–203. http://dx.doi.org/10.24162/ei2009-2730.

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45

Walland, Paul, Steve Taylor, Peter Brightwell, Peter Wilson, Brendan Slamin, and Roland Brown. "Realizing Collaborative Film and Television Workflows." SMPTE Motion Imaging Journal 119, no. 4 (May 2010): 39–44. http://dx.doi.org/10.5594/j11381.

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46

McIlroy, Brian, and Lance Pettitt. "Screening Ireland: Film and Television Representation." Canadian Journal of Irish Studies 29, no. 2 (2003): 72. http://dx.doi.org/10.2307/25515480.

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47

Canavan, Gerry, Anindita Banerjee, and Dan Hassler-Forest. "Disability and sf film and television." Science Fiction Film & Television 15, no. 2 (June 1, 2022): 119–22. http://dx.doi.org/10.3828/sfftv.2022.11.

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48

Kirchoff, Alisha, and Fabio Rojas. "Transgender Depictions in Film and Television." Contexts 20, no. 3 (August 2021): 8–9. http://dx.doi.org/10.1177/15365042211035326.

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Анотація:

This interview with Disclosure director Sam Feder and producer Amy Scholder takes a deep dive into the development of the critically acclaimed film highlighting transgender representation in Hollywood.

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49

Adam, Anthony J. "Internet resources for film and television." College & Research Libraries News 56, no. 6 (June 1, 1995): 397–400. http://dx.doi.org/10.5860/crln.56.6.397.

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50

McBride, Stephanie. "Film & Television: Just for Openers." Circa, no. 66 (1993): 7. http://dx.doi.org/10.2307/25557850.

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