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"television era"
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Death of the Moguls
Death of the Mogulsis a detailed assessment of the last days of the \"rulers of film.\" Wheeler Winston Dixon examines the careers of such moguls as Harry Cohn at Columbia, Louis B. Mayer at MGM, Jack L. Warner at Warner Brothers, Adolph Zukor at Paramount, and Herbert J. Yates at Republic in the dying days of their once-mighty empires. He asserts that the sheer force of personality and business acumen displayed by these moguls made the studios successful; their deaths or departures hastened the studios' collapse. Almost none had a plan for leadership succession; they simply couldn't imagine a world in which they didn't reign supreme.
Covering 20th Century-Fox, Selznick International Pictures, Metro-Goldwyn-Mayer, Paramount Pictures, RKO Radio Pictures, Warner Brothers, Universal Pictures, Republic Pictures, Monogram Pictures and Columbia Pictures, Dixon briefly introduces the studios and their respective bosses in the late 1940s, just before the collapse, then chronicles the last productions from the studios and their eventual demise in the late 1950s and early 1960s. He details such game-changing factors as the de Havilland decision, which made actors free agents; the Consent Decree, which forced the studios to get rid of their theaters; how the moguls dealt with their collapsing empires in the television era; and the end of the conventional studio assembly line, where producers had rosters of directors, writers, and actors under their command.Complemented by rare, behind-the-scenes stills,Death of the Mogulsis a compelling narrative of the end of the studio system at each of the Hollywood majors as television, the de Havilland decision, and the Consent Decree forced studios to slash payrolls, make the shift to color, 3D, and CinemaScope in desperate last-ditch efforts to save their kingdoms. The aftermath for some was the final switch to television production and, in some cases, the distribution of independent film.
eBook
Los telediarios franquistas. Una investigación sobre las fuentes
Introducción. Los estudios sobre historia de la televisión en España durante el franquismo no recurren a las fuentes directas. Objetivos. El objetivo de esta investigación es analizar desde datos nuevos y concretos, los telediarios de TVE en el periodo franquista. Método. Para el desarrollo de esta investigación se han empleado de manera exhaustiva, no como mero ejemplo, las parrillas de programación recuperadas de La Vanguardia, Abc y Tele Radio, y los partes de emisión de TVE. Conclusiones. Con el manejo de estas fuentes se pretende mostrar la existencia de una amplia gama de recursos de información accesibles, desde las que es preciso abordar nuevos estudios críticos de historia de la televisión en España.
Journal Article
Teaching the Politics of Television Culture in a \Post-television\ Era
[...] die influence of Cultural Studies on the development of Television Studies also meant that the circulation of meanings and pleasures by those who \"read\" or engaged with television was also paramount. [...] the relevance of questions of power for television was not simply a matter of a determining capitalist force reigning over die public. [...] the meanings this viewer might make of the network sitcom recede in significance, given the range of options available.
Journal Article
Teaching the Lone Television Studies Graduate Seminar
[...] we might structure a course around distinctive dieoretical perspectives in Television Studies, emphasizing such things as flow, the glance versus the gaze, television as an oral medium, the concept of the apparatus, the programming supertext, domesticity and reception, gender and popular pleasures, models of cultural circulation, and the cultural forum concept. [...] for me and others, such an arrangement already exists: as many readers may know, the Committee on Institutional Cooperation (CIC), which spans the Big Ten schools, plus the University of Chicago, offers a program it calls CourseShare, which allows students, including graduate students, at any member institution to enroll in courses at other institutions for home-university credit.
Journal Article
Going with the Flow: On the Value of Randomness, Flexibility, and Getting Students In on the Conversation, or What I Learned from Antoine Dodson
On due other hand, it is also characterized (as part and parcel of these same institutional and technological factors) by tighter corporate control of products in terms of intellectual property rights and by the drive to safeguard the interests of vertically and horizontally integrated conglomerates. Just as scholars have hung on to and continually revised the concept of flow to fit new cultural contexts, I find that foundational theories of ideology and hegemony, critical approaches to representation, and the tensions between political economy and reception studies animate my teaching with even more force in the era of convergence.
Journal Article
Filling the Box: Television in Higher Education
[...] television's perpetual cultural and industrial instability has extended in recent years into more radical reconfigurations, as the medium has migrated from domestic set to networked node, and as many long-standing practices such as broadcast schedules and broad national address have been challenged. [...] more critically, higher education is itself undergoing its most significant transformations in centuries.
Journal Article
Hybridity, History, and the Identity of the Television Studies Teacher
[...] the booming field of production studies is populated with scholars dedicated to understanding the culture of production and the production of culture in both the film and television industries. [...] the teaching and research of television audiorship needs to address botii macro issues of authorial discourses and micro issues of individual authorship.
Journal Article
Distribution revolution
Distribution Revolution is a collection of interviews with leading film and TV professionals concerning the many ways that digital delivery systems are transforming the entertainment business. These interviews provide lively insider accounts from studio executives, distribution professionals, and creative talent of the tumultuous transformation of film and TV in the digital era. The first section features interviews with top executives at major Hollywood studios, providing a window into the big-picture concerns of media conglomerates with respect to changing business models, revenue streams, and audience behaviors. The second focuses on innovative enterprises that are providing path-breaking models for new modes of content creation, curation, and distribution—creatively meshing the strategies and practices of Hollywood and Silicon Valley. And the final section offers insights from creative talent whose professional practices, compensation, and everyday working conditions have been transformed over the past ten years. Taken together, these interviews demonstrate that virtually every aspect of the film and television businesses is being affected by the digital distribution revolution, a revolution that has likely just begun. Interviewees include: • Gary Newman, Chairman, 20th Century Fox Television • Kelly Summers, Former Vice President, Global Business Development and New Media Strategy, Walt Disney Studios • Thomas Gewecke, Chief Digital Officer and Executive Vice President, Strategy and Business Development, Warner Bros. Entertainment • Ted Sarandos, Chief Content Officer, Netflix • Felicia D. Henderson, Writer-Producer, Soul Food, Gossip Girl • Dick Wolf, Executive Producer and Creator, Law & Order
eBook
Reuse, Misuse, Abuse
In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications.
eBook