933 resultados para Television, Entertainment
Resumo:
Cameron, Verhoeven and Court have noted that many screen producers do not see their tertiary education as being beneficial to their careers. We hypothesise that Universities have traditionally not trained students in producing skills because of the division of labour between Faculties of Art and Faculties of Business; and because their focus on art rather than entertainment has downplayed the importance of producing. This article presents a SOTL (Scholarship of Teaching and Learning) whole-of-program evaluation of a new cross-Faculty Bachelor of Entertainment Industries at QUT, devoted to providing students with graduate attributes for producing including creative skills (understanding story, the aesthetics of entertainment, etc), business skills (business models, finance, marketing, etc) and legal skills (contracts, copyright, etc). Stakeholder evaluations suggest that entertainment producers are highly supportive of this new course.
Resumo:
A televiso do sculo xx e da primeira dcada do sculo XXI no foi uma televiso do espectador. A neoteleviso veio acabar com a ligao unidireccional que a paleoteleviso mantinha com o telespectador, criando uma maior proximidade devido s semelhanas com o quotidiano do individuo. O talk-show, o gnero televisivo mais popular na Amrica nos anos 90, frequentemente a principal companhia e fonte de informao para milhares de espectadores. O talk-show alia informao ao entretenimento atravs do talk, com entrevistas entre convidado e apresentador intercaladas por momentos de humor e msica, o show. O sucesso de um talk-show observvel pela audincia registada, uma vez que as emisses so feitas de acordo com o perfil do pblico que assiste televiso nesse determinado perodo. Em Portugal, o entretenimento representado pela fico e pelos programas recreativos, ocupa uma grande parte da grelha de programao da televiso generalista. Na RTP, vrios foram os talk-shows que serviram de modelo para outros programas pela forma peculiar e inovadora com que se apresentaram, como o caso do Praa da Alegria. Em 2014, a renovao das manhs da RTP foi assinalada pela estreia do Agora Ns, um talk-show com incidncia nas histrias de vida do cidado comum. Estas histrias tornam-se exemplos de vida para os espectadores, aproximando-os e identificando-os com o programa. O Agora Ns est inserido num canal de servio pblico e, portanto, deve assegurar contedos variados, de referncia e qualidade, com valorizao cultural, econmica e educacional que corresponda s necessidades e interesses do pblico.
Resumo:
Este Relatrio procura conjugar a experincia de 3 meses a estagiar num programa matinal da TVI denominado Voc na TV com o estudo sobre os mecanismos que desencadeiam o riso na interao entre apresentadores, convidados e pblico presente em estdio. A anlise dos mecanismos feita a partir dos vdeos disponveis do programa, onde decorreu o estgio a que este relatrio se refere, no perodo entre 22 de Setembro e 24 de Dezembro de 2014.
Resumo:
Dissertao de Mestrado em Comunicao Social
Resumo:
This paper examines What Have We Learned From Current Affairs This Week?: a very successful weekly segment from the ABC program The Chasers War on Everything. It argues that through its intertextual satire, this regular segment acts not as a traditional news program would in presenting news updates on current events, but as a text which reflects on the way news is reported and how this, in turn, may shape public discourse. While the program has been highly controversial (enduring many a loud call for it to be pulled from air), this form of light entertainment can play an important public service by encouraging citizens to read through (Gray, 2006: 104) commercial current affairs faade of quality journalism.
Resumo:
While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidised national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australias genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics and cult audiences worldwide. Since its release, the term Ozploitation has become synonymous with Australian genre movies. In the absence of discussion about genre cinema within film studies, Ozploitation (and paracinema as a theoretical lens) has emerged as a critical framework to fill this void as a de facto approach to genre and a conceptual framework for understanding Australian genres movies. However, although the Ozploitation brand has been extremely successful in raising the awareness of local genre flicks, Ozploitation discourse poses problems for film studies, and its utility is limited for the study of Australian genre movies. This paper argues that Ozploitation limits analysis of genre movies to the narrow confines of exploitation or trash cinema and obscures more important discussion of how Australian cinema engages with popular movies genres, the idea of Australian filmmaking as entertainment, and the dynamics of commercial filmmaking practises more generally.
Resumo:
Universities have not traditionally trained students to work as producers in the entertainment industries. This key entertainment role involves balancing creativity, business and legal skills in order to generate and run entertainment projects. Queensland University of Technology has recently introduced a program to train students for these jobs. The program is interdisciplinary, drawing on expertise from the Creative Industries, Law and Business faculties. This Scholarship of Teaching and Learning (SOTL) article details the course learning outcomes developed from extensive industry and academic consultation, and addresses some of the difficulties involved in developing such an interdisciplinary teaching program.
Resumo:
For almost a decade before Hollywood existed, French firm Pathe towered over the early film industry with estimates of its share of all films sold around the world varying between 50-70%. Pathe was the first global entertainment company. This paper analyses its rise to market leadership by applying a theoretical framework drawn from the business literature on causes of industry dominance, which provides insights into how firms acquire and maintain market dominance and in this case the film industry. This paper uses evidence presented by film historians to argue that Pathe "fits" the expected theoretical model of a dominant firm because it had a marketing orientation, used an effective quality-based competitive strategy and possessed the six critical marketing capabilities that business research shows enable the best performing firms to consistently outperform rivals.
Resumo:
Australias Arts and Entertainment Sector underpins cultural and social innovation, improves the quality of community life, is essential to maintaining our cities as world class attractors of talent and investment, and helps create Brand Australia in the global marketplace of ideas (QUT Creative Industries Faculty 2010). The sector makes a significant contribution to the Australian economy. So what is the size and nature of this contribution? The Creative Industries Faculty at Queensland University of Technology recently conducted an exercise to source and present statistics in order to produce a data picture of Australias Arts and Entertainment Sector. The exercise involved gathering the latest statistics on broadcasting, new media, performing arts, and music composition, distribution and publishing as well as Australias performance in world markets.
Resumo:
For almost a decade before Hollywood existed, French firm Pathe towered over the early film industry with estimates of its share of all films sold around the world varying between 50-70%. Pathe was the first global entertainment company. This paper analyses its rise to market leadership by applying a theoretical framework drawn from the business literature on causes of industry dominance, which provides insights into how firms acquire and maintain market dominance, and in this case the film industry. This paper uses evidence presented by film historians to argue that Pathe fits the expected theoretical model of a dominant firm because it had a marketing orientation, used an effective quality-based competitive strategy and possessed the six critical strategic marketing capabilities that business research shows enable the best performing firms to consistently outperform rivals
Resumo:
Entertainment Industries is the first book to map entertainment as a cultural system. Including work from world-renowned analysts such as Henry Jenkins and Jonathan Gray, this innovative collection explains what entertainment is and how it works. Entertainment is audience-centred culture. The Entertainment Industries are a uniquely interdisciplinary collection of evolving businesses that openly monitor evolving cultural trends and work within them. The producers of entertainment central to that practice are the new artists. They understand audiences and combine creative, business and legal skills in order to produce cultural products that cater to them. Entertainment Industries describes the characteristics of entertainment, the systems that produce it, and the role of producers and audiences in its development, as well as explaining the importance of this area of study, and how it might be better integrated into Universities.
Resumo:
It is possible to write many different histories of Australian television, and these different histories draw on different primary sources. The ABC of Drama, for example, draws on the ABC Document Archives (Jacka 1991). Most of the information for Images and Industry: television drama production in Australia is taken from original interviews with television production staff (Moran 1985). Ending the Affair, as well as archival work, draws on over ten years of watching Australian television current affairs (Turner 2005, xiii). Morans Guide to Australian TV Series draws exhaustively on extant archives: the ABC Document Archives, material sourced through the ABC Drama department, the Australian Film Commission, the library of the Australian Film, Television and Radio School, and the Australian Film Institute (Moran 1993, xi)...
Resumo:
Twitter is a social media service that has managed very successfully to embed itself deeply in the everyday lives of its users. Its short message length (140 characters), and one-way connections (following rather than friending) lend themselves effectively to random and regular updates on almost any form of personal or professional activity and it has found uses from the interpersonal (e.g. boyd et al., 2010) through crisis communication (e.g. Bruns et al., 2012) to political debate (e.g. Burgess & Bruns, 2012). In such uses, Twitter does not necessarily replace existing media channels, such as the broadcast or online offerings of the mainstream media, but often complements them, providing its users with alternative opportunities to contribute more actively to the wider mediasphere. This is true especially where Twitter is used alongside television, as a simple backchannel to live programming or for more sophisticated uses. In this article, we outline four aspects dimensions of the way that the old medium of television intersects and, in some cases, interacts, with the new medium of Twitter.
