Transformation of the Industry in a Brand New Normal:: Media, Music, and Performing Arts, Bulent Sezgin, Omer Vatanartiran, Tuna Tetik
Автор: Hochscherf Tobias Название: Beyond the Bridge ISBN: 1784533564 ISBN-13(EAN): 9781784533564 Издательство: Bloomsbury Academic Рейтинг: Цена: 19008.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Danish television drama has never been as successful as in recent years.
Автор: Pomerance Murray Название: Moment of Action: Riddles of Cinematic Performance ISBN: 0813564956 ISBN-13(EAN): 9780813564951 Издательство: Mare Nostrum (Eurospan) Рейтинг: Цена: 4759.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: There are hundreds of biographies of filmstars and dozens of scholarly works on acting in general. But what about the ephemeral yet indelible moments when, for a brief scene or even just a single shot, an actor's performance triggers a visceral response in the viewer? Moment of Action delves into the mysteries of screen performance, revealing both the acting techniques and the technical apparatuses that coalesce in an instant of cinematic alchemy to create movie gold. Considering a range of acting styles while examining films as varied as Bringing Up Baby, Psycho, The Red Shoes, Godzilla, and The Bourne Identity, Murray Pomerance traces the common dynamics that work to structure the complex relationship between the act of cinematic performance and its eventual perception. Mining the spaces where subjective and objective analyses merge, Pomerance offers both a deeply personal account of film viewership and a detailed examination of the intuitive gestures, orchestrated movements, and backstage maneuvers that go into creating those phenomenal moments onscreen. Moment of Action takes us on an innovative exploration of the nexus at which the actor's keen skills spark and kindle the audience's receptive energies.
Автор: Heidi Philipsen, Tobias Hochscherf Название: Beyond The Bridge: Contemporary Danish Television Drama ISBN: 1350243914 ISBN-13(EAN): 9781350243910 Издательство: Bloomsbury Academic Рейтинг: Цена: 5067.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Drawing worldwide acclaim from critics and audiences alike, programmes like The Killing, Borgen, The Bridge and The Legacy demonstrate widespread fascination with Danish style, aesthetics and culture as seen through television narratives. This book uses familiar, alongside lesser known, case studies of drama series to demonstrate how the particular features of Danish production - from work cultures, to storytelling techniques and trans-national cooperation - have enhanced contemporary Danish drama's appeal both at home and abroad. The era of globalisation has blurred national and international television cultures and promoted regular cross-fertilisation between film and television industries. Important questions have emerged from this context surrounding, for example, the 'Americanisation' of foreign television formats, the meaning and practice behind the term 'quality television', and the purpose and efficacy of public service broadcasting. Beyond the Bridge tackles these issues in relation to Danish television, by examining the so-called 'scaffolded production processes' behind the making of quality serials and their thought-provoking content.
Drawing on popular motifs from these celebrated dramas such as foreign politics, organised crime, global warming, and the impact of multinational corporations, this timely book provides crucial insight into the Danish dramas at the forefront of sophisticated, forward-thinking, fictional television.
Tracing the international consumption, distribution, and cultural importance of silent film serials in the 1910s and 1920s, Canjels provides an exciting new understanding of the cultural dimension and the cultural transformation and circulation of media forms. Specifically, he demonstrates that the serial film form goes far beyond the well-known American two-reel serial--the cliffhanger.
Throughout the book, Canjels focuses on the biggest producers of serials, America, France, and Germany, while imported serials, such as those in the Netherlands, are also examined. This research offers new views on the serial work of well known directors as D.W. Griffith, Abel Gance, Erich von Stroheim, and Fritz Lang, while foregrounding the importance of lesser known directors such as Louis Feuillade or Joe May.
In the early twentieth-century, serial productions were constantly undergoing change and were not merely distributed in their original form upon import. As adjusted serials were present in large quantities or confronted different social spaces, nationalistic feelings and views stimulated by the unrest of World War I and the expanding American film industry could be incorporated and attached to the serial form. Serial productions were not only adaptable to local discourses, they could actively stimulate and interact as well, influencing reception and further film production. By examining the distribution, reception, and cultural contexts of American and European serials in various countries, this cross-cultural research makes both local and global observations. Canjels thus offers a highly relevant case study of transnational, transcultural and transmedia relations.
Описание: Since 2010 “curation” has become a marketing buzzword. Wrenched from its traditional home in the world of high art, everything from food to bed linens to dog toys now finds itself subject to this formerly rarified activity. Most of the time the term curation is being inaccurately used to refer to the democratization of choice – an inevitable development and side effect of the economics of long tail distribution. However, as any true curator will tell you – curation is so much more than choosing – it relies upon human intelligence, agency, evaluation and carefully considered criteria – an accurate, if utopian definition of the much-abused and overused term. Television on Demand examines what happens when curation becomes the primary way in which media users or viewers engage with mass media such as journalism, music, cinema, and, most specifically, television. Mass media’s economic model is based on mass audiences – not a cornucopia of endless options from which individuals can customize their intake. The rise of a curatorial culture where viewers create their own entertainment packages and select from a buffet of viewing options and venues has caused a seismic shift for the post-network television industry – one whose ultimate effects and outcomes remain unknown. Curatorial culture is a revolutionary new consumption ecology – one that the post-network television producers and distributors have not yet figured out how to monetize, as they remain in what anthropologists call a “liminal” state of a rite of passage – no longer what they used to be, but not yet what they will become. How does an advertiser-supported medium find leave alone quantify viewers who DVR This is Us but fast-forward through the commercials; have a season pass to The Walking Dead via iTunes to watch on their daily commutes; are a season behind on Grey’s Anatomy via Amazon Prime but record the current season to watch after they’re caught up; binge watched Orange is the New Black the day it dropped on Netflix; are watching new-to-them episodes of Downton Abbey on pbs.org; never miss PewDiePie’s latest video on YouTube, graze on Law & Order: SVU on Hulu and/or TNT and religiously watch Jimmy Fallon on The Tonight Show via digital rabbit ears? While audiences clamor for more story-driven and scripted entertainment, their transformed viewing habits undermine the dominant economic structures that fund quality episodic series. Legacy broadcasters are producing more scripted content than ever before and experimenting with new models of distribution – CBS will premiere its new Star Trek series on broadcast television but require fans to subscribe to its AllAccess app to continue their viewing. NBC’s original Will & Grace is experiencing a syndication renaissance as a limited-run season of new episodes are scheduled for fall 2017. At the same time, new producing entities such as Amazon Studios, Netflix and soon Apple TV compete with high-budget “television” programs that stream around traditional distribution models, industrial structures and international licensing agreements. Television on Demand: Curatorial Culture and the Transformation of TV explains and theorizes curatorial culture; examines the response of the “industry,” its regulators, its traditional audience quantifiers, and new digital entrants to the ecosystem of the empowered viewer; and considers the viable future(s) of this crucial culture industry.
Описание: Since 2010 “curation” has become a marketing buzzword. Wrenched from its traditional home in the world of high art, everything from food to bed linens to dog toys now finds itself subject to this formerly rarified activity. Most of the time the term curation is being inaccurately used to refer to the democratization of choice – an inevitable development and side effect of the economics of long tail distribution. However, as any true curator will tell you – curation is so much more than choosing – it relies upon human intelligence, agency, evaluation and carefully considered criteria – an accurate, if utopian definition of the much-abused and overused term. Television on Demand examines what happens when curation becomes the primary way in which media users or viewers engage with mass media such as journalism, music, cinema, and, most specifically, television. Mass media’s economic model is based on mass audiences – not a cornucopia of endless options from which individuals can customize their intake. The rise of a curatorial culture where viewers create their own entertainment packages and select from a buffet of viewing options and venues has caused a seismic shift for the post-network television industry – one whose ultimate effects and outcomes remain unknown. Curatorial culture is a revolutionary new consumption ecology – one that the post-network television producers and distributors have not yet figured out how to monetize, as they remain in what anthropologists call a “liminal” state of a rite of passage – no longer what they used to be, but not yet what they will become. How does an advertiser-supported medium find leave alone quantify viewers who DVR This is Us but fast-forward through the commercials; have a season pass to The Walking Dead via iTunes to watch on their daily commutes; are a season behind on Grey’s Anatomy via Amazon Prime but record the current season to watch after they’re caught up; binge watched Orange is the New Black the day it dropped on Netflix; are watching new-to-them episodes of Downton Abbey on pbs.org; never miss PewDiePie’s latest video on YouTube, graze on Law & Order: SVU on Hulu and/or TNT and religiously watch Jimmy Fallon on The Tonight Show via digital rabbit ears? While audiences clamor for more story-driven and scripted entertainment, their transformed viewing habits undermine the dominant economic structures that fund quality episodic series. Legacy broadcasters are producing more scripted content than ever before and experimenting with new models of distribution – CBS will premiere its new Star Trek series on broadcast television but require fans to subscribe to its AllAccess app to continue their viewing. NBC’s original Will & Grace is experiencing a syndication renaissance as a limited-run season of new episodes are scheduled for fall 2017. At the same time, new producing entities such as Amazon Studios, Netflix and soon Apple TV compete with high-budget “television” programs that stream around traditional distribution models, industrial structures and international licensing agreements. Television on Demand: Curatorial Culture and the Transformation of TV explains and theorizes curatorial culture; examines the response of the “industry,” its regulators, its traditional audience quantifiers, and new digital entrants to the ecosystem of the empowered viewer; and considers the viable future(s) of this crucial culture industry.
Описание: Adaptation constitutes the driving force of contemporary culture, with stories adapted across an array of media formats. However, adaptation studies has been concerned almost exclusively with textual analysis, in particular with compare-and-contrast studies of individual novel and film pairings. This has left almost completely unexamined crucial questions of how adaptations come to be made, what are the industries with the greatest stake in making them, and who the decision-makers are in the adaptation process. The Adaptation Industry re-imagines adaptation not as an abstract process, but as a material industry. It presents the adaptation industry as a cultural economy of six interlocking institutions, stakeholders and decision-makers all engaged in the actual business of adapting texts: authors; agents; publishers; book prize committees; scriptwriters; and screen producers and distributors. Through trading in intellectual property rights to cultural works, these six nodal points in the adaptation network are tightly interlinked, with success for one party potentially auguring for success in other spheres. But marked rivalries between these institutional forces also exist, with competition characterizing every aspect of the adaptation process. This book constructs an overdue sociology of contemporary literary adaptation, never losing sight of the material and institutional dimensions of this powerful process.
Автор: Oakley Charles Allen Название: Where We Came in: Seventy Years of the British Film Industry ISBN: 1138987107 ISBN-13(EAN): 9781138987104 Издательство: Taylor&Francis Рейтинг: Цена: 6583.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: Originally published in 1964, this book tells the history of the British cinematograph industry for the first time. It describes moments of splendid triumph and others of shattering failure. The mood switches from reckless optimism to demoralising pessimism, from years in which British films won the highest international awards to those when they were dismissed with scorn. It recalls a score of productions still ranked among the world's best, and the stars whose reputation was established in them. Attention is focused on the directors, those who kept to the fore during two and three decades and those with only one major success to their name. Behind them the men are identified who strove, often to their considerable financial loss, to gain a worthy place for British films in the world’s markets.
Автор: Truman Locke Название: Some Things You Should Know: Confessions of a TV Executive ISBN: 1350113409 ISBN-13(EAN): 9781350113404 Издательство: Bloomsbury Academic Рейтинг: Цена: 2850.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Truman Locke is a television executive. His job - to seek out extraordinary people and stories to put on TV - gives him a licence for adventure; freedom to go almost anywhere and do almost anything, so long as he's successful. But now, things are going wrong. Under mounting pressure, his manoeuvring and risk taking start to slip out of control, bringing trouble and danger to his ordered world, jeopardizing everything.
In Some Things You Should Know, this talented but flawed anti-hero tells his own story - one of lies, crime and complex relationships. It's a page-turning thriller, inspired by the realities of life in a glamorous but treacherous industry, exposing them in a way no book ever has before.
Truman's experiences show what it's like to work at TV's cutting edge: what motivates TV producers, how they think and behave, and what it takes to succeed in a cut-throat creative business.
Описание: When user-generated content (UGC) emerged as a central facet of the BBC`s digital presence, it seemed to engage directly with the public service remit in a modern and multiplatform way. Content Cultures examines this key moment of digital affluence and creativity as the BBC embraced user-generated content.
Автор: Annabelle Sreberny, Massoumeh Torfeh Название: Persian Service: The BBC and British Interests in Iran ISBN: 1848859813 ISBN-13(EAN): 9781848859814 Издательство: Bloomsbury Academic Рейтинг: Цена: 15048.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: This book is thus a significant contribution to understanding the changing nature of British diplomacy and the broader implications of the nexus between government and international broadcasting during the rise of diplomatic strategies aimed at winning the `hearts and minds` of populations.
Автор: Geoff King Название: Positioning Art Cinema: Film and Cultural Value ISBN: 1788310187 ISBN-13(EAN): 9781788310185 Издательство: Bloomsbury Academic Рейтинг: Цена: 14256.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
Art cinema occupies a space in the film landscape that is accorded a particular kind of value. From films that claim the status of harsh realism to others which embody aspects of the tradition of modernism or the poetic, art cinema encompasses a variety of work from across the globe. But how is art cinema positioned in the film marketplace, or by critics and in academic analysis? Exactly what kinds of cultural value are attributed to films of this type and how can this be explained? This book offers a unique analysis of how such processes work, including the broader cultural basis of the appeal of art cinema to particular audiences. Geoff King argues that there is no single definition of art cinema, but a number of distinct and recurrent tendencies are identified. At one end of the spectrum are films accorded the most 'heavyweight' status, offering the greatest challenges to viewers. Others mix aspects of art cinema with more accessible dimensions such as uses of popular genre frameworks and 'exploitation' elements involving explicit sex and violence. Including case studies of key figures such as Michael Haneke, Pedro Almodуvar and Jean-Pierre and Luc Dardenne, this is a crucial contribution to understanding both art cinema itself and the discourses through which its value is established.
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