796 resultados para Television, Entertainment
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General note: Title and date provided by Bettye Lane.
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General note: Title and date provided by Bettye Lane.
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General note: Title and date provided by Bettye Lane.
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General note: Title and date provided by Bettye Lane.
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Focusing on the UK, this article addresses key issues facing the international distribution industry arising from over-the-top digital distribution and the fragmentation of audiences and revenues. Building on the identification of these issues, it investigates the extent to which UK distribution has altered over a ten-year period, pinpointing continuities in the destination and type of sales alongside changes in the role and structure of the industry as UK-based distributors adapt to a changing UK broadcasting landscape and global production environment. At one level increasing US ownership of UK-based distributors and the arrival of OTT players like Netflix, highlight the tensions between the national orientations of UK broadcasters and the global aspirations of independent producers and distributors. At another level VOD has boosted international sales of UK drama. Although the full impact of SVOD on content and rights has yet to materialise, significant changes in the industry predate the arrival of SVOD.
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[No abstract as this is a book chapter: the following represents the first 2 paragraphs.] The screen fills with close-ups of smiling African faces against a black-and-orange background: the carefree child, the gap-toothed man with smoke curling from his pipe. The faces retreat into an outline of a map of Africa as the saccharine background music dissolves into birdsong. The silhouette of an acacia tree appears. This is not the much-derided Western romantic stereotype of the continent: it is an extract from a promotional trailer on CCTV Africa, the embodiment of Chinas soft power drive and a spearhead of Chinese state televisions overseas expansion. Yet this image is at variance with the English-language channels professed ambitions. The Chinese premier, Li Keqiang, himself declared that CCTV embraces the vision of seeing Africa from an African perspective and reporting Africa from the viewpoint of Africa. These contradictory messages prompt fundamental questions about CCTVs expansion into Africa. Are the channels English-language news bulletins aimed at African or Chinese viewers? What kind of Africa and indeed China do they represent, and could the framing of African events by CCTV News provide an alternative to the perspective of international rivals? Is CCTVs main mission in Africa to provide news or to act as mouthpiece of the Chinese Communist Party and state? This chapter addresses these questions by applying a cross-cultural variant of framing theory to the news content of CCTVs Africa Live and that of its closest direct competitor, Focus on Africa from BBC World News TV.
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Discourse is a giant field of research and gender related rights are still a disputed area of thinking. Thus, when Arab transnational satellite televisions produce dialogues, images, stories and narratives about the disputed universal gender rights in the Middle East, the big questions remain how and why. According to De Beauvoir (1949), one becomes woman and to Butler (1990) one is not born a gender at all but is done and undone to become one via discourse. Islamic feminism speaks of a cultural/religious specificity in defending women rights and even gender diversity based on new Quranic interpretations. The gender, Al-Nawu, remains synonym to sex Al Jins as gender and queer theories never developed in Arabic in tandem with the European institutions or the theories of the19th century especially those ideas emerging from studies of the mental asylum. This research tries to understand gender related rights and wrongs as manifest in the discursive institutions owned by media mogul Prince Al Waleed Ben Talal Al Saud. The trouble of such a study is lexical, ideological and institutional at the same time. Since we lack a critique of the discourses and narratives addressed in the pan-Arab satellite channels, in general it is difficult to understand their significance and influence in everyday life practices. What language is used to speak of gender rights or wrongs? Which ideology is favoured in this practice of legitimisation and/or policing? Using case studies, CDA of social and religious talk shows, narrative analysis of Arabic cinemas, this research adapted triangulation to show the complexity of conversing and narrating gender related content at the micro and macro levels within an institution of power. Using semi-structured interviews from fieldwork in Egypt (2009) and Lebanon (2011), archive research and online ethnography, the research exposes the power structure under which gender discourses evolve. It emerges that gender content is abundant on the Pan Arab satellite space, manufactured on talk shows and plotted tactfully in the cinematic creative-act. The result is a complex discourse of gender content that scratches the surface calling for interpretation. So how and why do gender rights and wrongs find place on Prince Al Waleeds Media Empire?
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This article considers possible futures for television (TV) studies, imagining how the discipline might evolve more productively over the next 10 years and what practical steps are necessary to move towards those outcomes. Conducted as a round-table discussion between leading figures in television history and archives, the debate focuses on the critical issue of archives, considering and responding to questions of access/inaccessibility, texts/contexts, commercial/symbolic value, impact and relevance. These questions reflect recurrent concerns when selecting case studies for historical TV research projects: how difficult is it to access the material (when it survives)? What obstacles might be faced (copyright, costs, etc.) when disseminating findings to a wider public? The relationship between the roles of researcher and archivist appears closer and more mutually supportive in TV studies than in other academic disciplines, with many people in practice straddling the traditional divide between the two roles, combining specialisms that serve to further scholarship and learning as well as the preservation of, and broad public engagements with, collections. The Research Excellence Frameworks imperative for academic researchers to achieve impact in broader society encourages active and creative collaboration with those based in public organizations, such as the British Film Institute (BFI), who have a remit to reach a wider public. The discussion identifies various problems and successes experienced in collaboration between the academic, public and commercial sectors in the course of recent and ongoing research projects in TV studies.
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This article argues for acknowledging and exploring actors processes in critical considerations of television drama. Theatre studies boasts a tradition of research privileging the actor, including a centurys worth of actor-training manuals, academic works observing rehearsals and performances and actor accounts. However, such considerations within television studies are relatively nascent. Drawing upon continuing drama as a fertile case study for investigating the specificities of television acting, the article concludes that the only way to understand television acting is through the analysis of insights from actors themselves, in combination with the well-established practices of analysing the textual end products of television acting.
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This paper describes and analyses the Audiovisual Technology Hub Programme (Programa Polos Audiovisuales Tecnolgicos - PPAT), which has been implemented in Argentina between 2010 and 2015 as part of the public policy of former administration of Cristina Fernndez de Kirchner. The main goal was to promote a television industry that reflects the cultural diversity of Argentina by dividing the national territory in nine into nine audiovisual technology hubs, where national public universities acted as centres that gathered a range of regional stakeholders. Considering the 18 TV seasons that were produced for television between 2013 and 2014, the text analyses the diversity of sources and genres / subgenres and its restricted marketing. The article closes with a brief set of conclusions about this initiative.
