070.195 HUD
The broadcast journalism handbook
This exciting and comprehensive text takes students, trainees and professionals into the world of the modern-day newsroom, covering both key techniques and theory in detail. The second edition has been revised and updated to include all the technical, regulatory and theoretical advances in recent broadcast custom and practice and is influenced by newsrooms around the country. Main features: * Complete coverage of all the key skills: news gathering, interviewing, writing and story-telling, live/location-reporting, online, editing, graphics and presentation. * Expert advice and contributions from leading broadcast journalists from the BBC, ITV and Sky News. * The Essential Guide, a section on how to get a job, the law and an up-to-date glossary of broadcasting terms. * Workshops and Exercises, which provides the opportunity to practise key skills. * Case Study, A Closer Look and Thinkpiece boxes help put the theory into context. * Remember and Tip boxes summarise key concepts and offer guidance. * A DVD demonstrating filming techniques and editing ideas. New for the second edition: * Greater emphasis on online elements of broadcast journalism and the role of social media in news gathering. * A focus on the interactive nature of the contemporary news process - how to find user-generated content, empower audiences and engage listeners and viewers. * The key skills required for students taking the new NCTJ Broadcast Journalism exams. Ideal for students on journalism courses at all levels, this text is also useful for professionals and trainees working in broadcast, print and other media, and those looking at broadcast journalism in the wider context of media studies.
Television studies must now address a complex environment where change has been vigorous but uneven, and where local and national conditions vary significantly. Globalizing media industries, deregulatory policy regimes, the multiplication, convergence and trade in media formats, the emergence of new content production industries outside the US/UK umbrella, and the fragmentation of media audiences are all changing the nature of television today: its content, its industrial structure and how it is consumed. Television Studies after TV leads the way in developing new ways of understanding television in the post-broadcast era. With contributions from leading international scholars, it considers the full range of convergent media now implicated in understanding television, and also focuses on large non-Anglophone markets - such as Asia and Latin America - in order to accurately reflect the wide variety of structures, forms and content which now organise television around the world.
302.222 MIR
In The Right to Look, Nicholas Mirzoeff develops a comparative de-colonial framework for visual culture studies, a field that he has helped to create and shape. Casting modernity as an ongoing contest between visuality and counter-visuality, or "the right to look," he explains how visuality sutures authority to power and renders the association natural. An early-nineteenth-century concept, meaning the visualization of history, visuality has been central to the legitimization of Western hegemony. Mirzoeff identifies three "complexes of visuality," plantation slavery, imperialism, and the present-day military-industrial complex. He describes how, within each of these, power is made to seem self-evident through techniques of classification, separation, and aestheticization. At the same time, he shows how each complex of visuality has been countered by the enslaved, the colonized, and opponents of war, all of whom assert autonomy from authority by claiming the right to look. Encompassing the Caribbean plantation and the Haitian revolution, anti-colonialism in the South Pacific, anti-fascism in Italy and Algeria, and the contemporary global counterinsurgency, The Right to Look is a work of astonishing geographic, temporal, and conceptual reach.
Written for students, graduates and academics
from the disciplines of film, media and related subjects, and for those from
other disciplines who want to break into the media, this book is a virtual
career coach and an employability course all in one package. A practical
handbook, it offers encouragement, advice, information and case studies to help
students to make the most of the opportunities in this very competitive career
world. The book can be used as a textual support for careers modules and PDP
(Personal Development Planning), graduate workshops, on-line courses and as a
departmental or careers library resource. Equally, it works effectively as a
self-help guide to enable individuals to focus on their career / life
development.
Media and Entertainment Law presents a contemporary analysis of the law relating to the media and entertainment industry both in terms of its practical application and its theoretical framework. It provides a clear, current and comprehensive account of this exciting subject. Fully updated and revised, this second edition is one of the first texts to contain a full analysis of the Leveson Inquiry and the implications for our press and media that are arising from it. The new edition contains; a new chapter analysing the Defamation Act 2013; the Digital Economy Act 2010 which aimed to toughen up against copyright infringement online and has been subject to parliamentary review since coming into power; and the liability of internet service providers, including recent cases such as Tamiz vs Google 2012, which goes some way to define the extent to which an ISP may or may not be found liable for their bloggers content. With integrated coverage of Scots and Northern Irish law, Media and Entertainment Law also highlights comparisons with similar overseas jurisdictions, such as with the liability of ISPs where there are differences in both US and European law, in order to help students demonstrate an awareness of media laws, which may then influence UK legislation. Looking at key aspects such as TV and radio broadcasting, the print press, the music industry, online news and entertainment and social networking sites, this text provides detailed coverage of the key principles, cases and legislation as well as a critical analysis of regulatory bodies such as OFCOM and the new regulator for the UK's newspapers and magazines (and online editions), the Independent Press Standards Organisation (Ipso). The text also provides the most comprehensive and up to date coverage of the law relating to Intellectual Property law for the entertainment industry with recent changes in EU law relating to performers' rights.
Music composed with the purpose of selling consumer goods and services make up a fair proportion of the songs, jingles and melodies we encounter on a daily basis. Whether we go shopping, listen to the radio, watch television or surf the Internet, we are likely to be exposed to music crafted with the explicit purpose of supporting sales. Nonetheless, music for commercial settings is largely neglected in research on popular music and in media studies. This book is thus the first volume dealing exclusively with these various aspects of music in advertising. Contributors to Music in Advertising are scholars from the fields of musicology, media studies and consumer research sharing an interest in the aesthetic features and communicative aspects of this kind of music. The book consists of 13 chapters. Six of them deal with different topics related to music in television commercials. Six further chapters cover advertising in other media, as well as other ways in which music is utilised to promote sales. A concluding chapter discusses the ontology of film and advertising music.
Everyone loves music, but not everyone loves advertising. Faced with increasingly impatient and fickle customers, some of the world's most famous brands have been turning to music and artists to engage the public in a way they could never do alone. Why? Because music speaks to our emotions, brings people together and starts conversations. If it's used correctly, it can turn a one-off purchaser into a loyal fan. Sounds Like Branding is, in its author's words, an 'ear-opening' journey through the history of music and marketing, from the humble jingle and the advent of Muzak to Michael Jackson's groundbreaking association with Pepsi in the 1980s and the music branding embraced today by global brands such as Nike, Starbucks, Levi's and Coca-Cola. What marketers need to know today is not what music to run in the background to an ad, but how a brand 'sounds'. This book is essential reading for any brand manager looking for a competitive edge in an increasingly cluttered media landscape
Music can say so much. It can make us laugh or cry - it can make us remember our first kiss as though it was just yesterday. Just one chord in a film score is enough to tell us that someone is hiding behind the curtain. We can even hear how a person is feeling just by the sound of their voice. By understanding how such processes work, we are able to create sounds that trigger the desired associations in a branding context. John Groves, a music consultant and composer with a long track record of creating memorable melodies for brands such as Olympus, Mentos, Bacardi, Mars and Visa, documents the birth of a new discipline - Sound Branding. He shares personal experiences and anecdotes of how music can be responsible for suicide, revolutions, and making people pay more for a glass of wine. He explains how sound and music can be used strategically to provide identification, differentiation and generally to steer perception. COMMUSICATION is a mix of cutting-edge scientific findings and one man's analytical - and sometimes humourous - views, ending in a walk-through of his structured system for developing and managing Brand Sound Identities. This book is a must-read for anyone involved in marketing, advertising, branding, music - in fact, for anyone who has ears!
Like many other cultural commodities, films and TV shows tend to work in such a way as to obscure the conditions under which they are produced, a process that has been reinforced by dominant trends in the practice of Film and Television Studies. This collection places the workplace experiences of industry workers at centre stage. It looks at film and television production in a variety of social, economic, political, and cultural contexts. The book provides detailed analyses of specific systems of production and their role in shaping the experience of work, whilst also engaging with the key theoretical and methodological questions involved in film and television production. Drawing together the work of historians, film scholars, and anthropologists, it looks at film and television production not only in Hollywood and Western Europe but also in less familiar settings such as the Soviet Union, India, Nigeria, and the Democratic Republic of Congo. Chronologically wide-ranging, interdisciplinary and international in scope, it is a unique introduction, critical for all students of the film industries and film production.
The Routledge Encyclopedia of Film Theory is an international reference work representing the essential ideas and concepts at the centre of film theory from the beginning of the twentieth century, to the beginning of the twenty-first. When first encountering film theory, students are often confronted with a dense, interlocking set of texts full of arcane terminology, inexact formulations, sliding definitions, and abstract generalities. The Routledge Encyclopedia of Film Theory challenges these first impressions by aiming to make film theory accessible and open to new readers. Edward Branigan and Warren Buckland have commissioned over 50 scholars from around the globe to address the difficult formulations and propositions in each theory by reducing these difficult formulations to straightforward propositions. The result is a highly accessible volume that clearly defines, and analyzes step by step, many of the fundamental concepts in film theory, ranging from familiar concepts such as 'Apparatus', 'Gaze', 'Genre', and 'Identification', to less well-known and understood, but equally important concepts, such as Alain Badiou's 'Inaesthetics', Gilles Deleuze's 'Time-Image', and Jean-Luc Nancy's 'Evidence'. The Routledge Encyclopedia of Film Theory is an ideal reference book for undergraduates of film studies, as well as graduate students new to the discipline.
Projecting Illusion offers a systematic analysis of the impression of reality in the cinema and the pleasure it gives to the film spectator. Film provides a compelling experience that can be considered as a form of illusion akin to the experience of day-dream and dream. Examining the concept of illusion and its relationship to fantasy in the experience of visual representation, Richard Allen situates his explanation within the context of an analytical criticism of contemporary film and critical theory. He argues that many contemporary film theorists correctly identify the significance of the impression of reality, although their explanation of it is incorrect because of an invalid philosophical understanding of the relationship between the mind, representation and reality. Offering a clear presentation and critique of the central arguments of contemporary film and critical theory, Allen also touches on fundamental issues in current discourses of philosophy, art history and feminist theory.
Sound for Film and Television, Third Edition provides a thorough introduction to the fascinating field of recording, editing, mixing, and exhibiting film and television sound. It strikes a fine balance between aesthetic and technical content, combining theory and practice to approach sound as both an art and a science. This new edition has been completely updated to reflect the latest advances in HD technology, new hardware and software systems, new distribution methods, wireless sound capture, and more. Also, analog-related content has been reduced and transferred to the chapters covering historical techniques. Sections on troubleshooting and FAQs have been added to help you avoid common pitfalls in sound production. Written by one of Hollywood's leading sound experts, Sound for Film and Television provides a solid grounding in all aspects of the sound process. Basic principles are presented with illustrations demonstrating how they affect the day-to-day activities on a film or television set, in the editing room, and in the mix room. The accompanying audio DVD contains more than 50 tracks that demonstrate practical, real-world examples of key concepts presented in the book.
The wounds of nations: Horror cinema,
historical trauma and national identity explores the ways in which the
unashamedly disturbing conventions of international horror cinema allow
audiences to engage with the traumatic legacy of the recent past in a manner
that has serious implications for the ways in which we conceive of ourselves
both as gendered individuals and as members of a particular nation-state.
Exploring a wide range of stylistically distinctive and generically diverse
film texts, its analysis ranges from the body horror of the American 1970s to
the avant-garde proclivities of German Reunification horror, from the vengeful
supernaturalism of recent Japanese chillers and their American remakes to the
post-Thatcherite masculinity horror of the UK and the resurgence of 'hillbilly'
horror in the period following September 11th 2001. In each case, it is argued,
horror cinema forces us to look again at the wounds inflicted on individuals,
families, communities and nations by traumatic events such as genocide and war,
terrorist outrage and seismic political change, wounds that are all too often
concealed beneath ideologically expedient discourses of national cohesion. By
proffering a radical critique of the nation-state and the ideologies of
identity it promulgates, horror cinema is seen to offer us a disturbing, yet
perversely life affirming, means of working through the traumatic legacy of
recent times.
Horror films have exploded in popularity since
the tragic events of September 11, 2001, many of them breaking box-office
records and generating broad public discourse. These films have attracted
A-list talent and earned award nods, while at the same time becoming darker,
more disturbing, and increasingly apocalyptic. Why has horror suddenly become
more popular, and what does this say about us? What do specific horror films
and trends convey about American society in the wake of events so horrific that
many pundits initially predicted the death of the genre? How could American
audiences, after tasting real horror, want to consume images of violence on
screen? Horror after 9/11 represents the first major exploration of the horror
genre through the lens of 9/11 and the subsequent transformation of American
and global society. Films discussed include the Twilight saga; the Saw series;
Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre,
Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors
analyze recent trends in the horror genre, including the rise of 'torture
porn,' the big-budget remakes of classic horror films, the reinvention of
traditional monsters such as vampires and zombies, and a new awareness of
visual technologies as sites of horror in themselves. The essays examine the allegorical
role that the horror film has held in the last ten years, and the ways that it
has been translating and reinterpreting the discourses and images of terror
into its own cinematic language.
A ground-breaking comparative treatment of
cinematic images of atrocity, combining critical perspectives on contemporary
film and human rights. A few days after 9/11, US Vice-President Dick Cheney
invoked the need for the USA to work 'the dark side' in its global 'War on
Terror'. Cinema of the Dark Side explores how contemporary cinema treats
state-sponsored atrocity, evoking multiple landscapes of state terror.
Investigating the ethical potential of cinematic atrocity images, this book
argues that while films help to create and confirm normative perceptions about
atrocities, they can also disrupt those perceptions and build alternatives.
Asserting a crucial distinction between morality and ethics, a new
conceptualisation of human rights cinema is proposed, one that repositions
human rights morality within an ethical framework that reflects upon the causes
and contexts of violence. It builds upon theories of embodied spectatorship to
offer a new perspective on the ethics of spectatorship, providing readers with
fresh insights into how we respond to atrocity images and the ethical issues at
stake. Covering a diverse spectrum of 21st century cinema, this books deals
with documentary or fictional representations of atrocity such as
state-sanctioned torture, genocide, enforced disappearance, deportation, and
apartheid. Close analysis of contemporary films includes Zero Dark Thirty
(2012), Standard Operating Procedure (2008), Hotel Rwanda (2004), Sometimes in
April (2005), Nostalgia for the Light (2010), Chronicle of an Escape (2006),
Children of Men (2006), District 9 (2009), Waltz With Bashir (2008), and
Paradise Now (2005). It is a valuable resource for advanced students and
researchers in Film Studies and Human Rights alike.
Documentary productions encompass remarkable representations of surprising realities. How do documentaries achieve their ends? What types of documentaries are there? What factors are implicated in their production? Such questions animate this engaging study. Documentary Screens provides a comprehensive and critical introduction to the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. This provocative and accessible analysis situates wide ranging examples from each category within the larger material forces which impact on documentary form and content. The important connection between form, content and context explored in the book constitutes a new and lively 'documentary studies' approach to documentary representation.
Directing the Documentary, Sixth Edition is the
definitive book on the form, offering time-tested principles to help you master
the craft. Ideal for documentary courses as well as aspiring and established
documentary filmmakers, this book has it all, with in-depth lessons and insider
perspectives on every aspect of preproduction, production, and postproduction.
Focusing on the hands-on work needed to make your concept a reality, this new
edition covers it all, from the fundamental to advanced elements of directing
and more. It includes dozens of projects, practical exercises, and
thought-provoking questions, and provides best practices for researching and
honing your documentary idea, developing a crew, guiding your team, maintaining
control throughout the shoot, and much more. This new edition features: * A
two-stage cinematic learning process: camera observation skills, then advanced
storytelling * Dozens of real-world exercises and case studies to demystify
production processes and enhance your skills * Easy-to-comprehend guidance in
the creative, technical, and artistic aspects of directing * Fresh coverage of
the latest filmmaking technology * Expanded sections on grant writing and
fundraising, emphasizing proposal and pitching skills * A self-assessment of
your interviewing skills and expanded coverage of narration-writing * A
companion website (www.directingthedocumentary.com) that includes handy
production checklists and forms, updated projects, exercises, and video
examples In Directing the Documentary, Sixth Edition Michael Rabiger combines
expert advice on the storytelling process and technical aspects of documentary
filmmaking with sound commentary on the philosophical underpinnings of the art,
providing the practical and holistic understanding you need to become a
highly-regarded, original, and ethical contributor to the genre.
This comprehensive manual has inspired tens of
thousands of readers worldwide to realize their artistic vision and produce
well-constructed films. Filled with practical advice on every stage of
production, this is the book you will return to throughout your career.
Directing covers the methods, technologies, thought processes, and judgments
that a director must use throughout the fascinating process of making a film.
The core of the book is the human, psychological, and technical knowledge that
every director needs, the enduring elements of the craft that remain vital.
Directing also provides an unusually clear view of the artistic process,
particularly in working with actors and principle crew to achieve personally
expressive storytelling and professionalism on any budget. Directing explores
in detailed and applicable terms how to engage with the conceptual and
authorial sides of filmmaking. Its eminently practical tools and exercises show
how to: discover your artistic identity; develop credible and compelling
stories with your cast and crew; and become a storyteller with a distinctive
voice and style. The companion website includes teaching notes, dozens of
practical hands-on projects and film study activities to help you master
technical and conceptual skills, film analysis questionnaires, and all the
essential production forms and logs. New to the fifth edition * Virtually every
chapter has been revised, updated, and re-organized for a streamlined and
integrated approach. * Expanded sections on the basics of drama, including
thorough analyses of recent films * Discussions of the director's approach to
script analysis and development * New discussion exploring the elements of
naturalistic and stylistic aesthetic approaches. * New discussion on the
narrative power of lighting and the lens - including many recent film examples
for shot size, perspective, focus and exposure * Greater emphasis on the
implications of composition, mise-en-scene, continuity shooting and editing,
long take shooting, point-of-view sequences, and camera handling * Expanded
discussion of collaboration between the director and principle creative crew *
Updated coverage of workflow and comparative advantages to digital or film
acquisition * New section on film production safety, set protocol and etiquette.
It explains the role of the researcher and journalist within radio, television and journalism exploring key areas of what to expect in the job. Researching for the Media: Television, Radio and Journalism offers advice and instruction on practical, ethical and legal issues which affect anyone working in these industries. Beginning with suggestions on how to think up ideas and how to devise treatments, through to general research methods and techniques and guidance on working on location at home and abroad, it uses real examples of good and bad practice from the industry. Written by an experienced researcher, writer and producer, Researching for the Media includes: Tips on finding contributors from contestants, experts and specialists through to audiences and celebrities; How to find photographs, picture and film clips and the ethical and legal issues involved; advice on finding and using music and copyright issues. How the media uses the internet and social media such as Twitter, Facebook, Instagram; A discussion of risk assessment, codes of conduct, ethical behaviour and legal and safety issues; A glossary of media terms, further reading and a list of helpful websites"-- Provided by publisher.
Outlines the main skills, techniques and practices for the job of the researcher. An easy to follow guide to production research, it will help the new researcher to understand the possibilities to be considered when undertaking research and the kind of questions that need to be asked at each stage of the production process. Every project, whether it's a programme for television or radio or an article for publication is different and there is no one, correct answer to each situation. Based on the author's wealth of experience as a researcher on many and varied kinds of broadcast and non-broadcast programmes, this quick reference will guide the reader through the problems they are likely to encounter and help to resolve them. It also includes many tips to help the reader gain a better understanding of the real world of production. Research for Media Production is a rework and expanded edition of Production Research also written by Kathy Chater.
George Gerbner's cultivation theory provides a
framework for the analysis of relationships between television viewing and
attitudes and beliefs about the world. Since the 1970s, cultivation analysis
has been a lens through which to examine television's contributions to
conceptions of violence, sex roles, political attitudes and numerous other
phenomena. Hundreds of studies during this time have (mostly) found that there are
relationships between television exposure and people's worldviews, but
important questions remain: just how big are these relationships, are they
real, are some people more vulnerable to them than others, do they vary across
different topics, and will we continue to find them in new media environments?
In this collection of nineteen chapters, leading scholars review and assess the
most significant developments in cultivation research in the past ten years.
The book highlights cutting-edge research related to these questions and
surveys important recent advances in this evolving body of work. The
contributors point us toward new directions and fresh challenges for
cultivation theory and research in the future.
We watch TV on computers, phones, and other
mobile devices; television is now online as much as it is "on air."
Television and New Media introduces readers to the ways that new media
technologies have transformed contemporary broadcast television production,
scheduling, distribution, and reception practices. Drawing upon recent examples
including Lost, 24, and Heroes, this book examines the ways that television
programming has changed-transforming nearly every TV series into a franchise,
whose on-air, online, and on-mobile elements are created simultaneously and
held together through a combination of transmedia marketing and storytelling.
Television studios strive to keep their audiences in constant interaction with
elements of the show franchise in between airings not only to boost ratings,
but also to move viewers through the different divisions of a media
conglomerate. Organized around key industrial terms-platforming, networking,
tracking, timeshifting, placeshifting, schedule-shifting, micro-segmenting, and
channel branding this book is essential for understanding how creative and
industrial forces have worked together to transform the way we watch TV.
This is a superb book which combines the rare
mixture of high quality information with humour. The style of writing engages
the reader from the introduction and the experience and insight of the author
occasionally makes it difficult to put down, a rare feature of a textbook. I
would unreservedly recommend this book not only to those studying journalism
but to students of language and all who use the spoken and written word as the
'materials' of their work.' Barry Turner, Nottingham Trent University 'Rick
Thompson's guidance manual is packed with advice to would-be writers for this
medium. He's someone with years of experience at the top level of the national
and international profession, and he's smack up to date with his references.
The book is aimed at journalists, but anyone with a serious interest in
developing their literacy will learn a lot about professional writing skills
from what he has to say.' Roy Johnson, www.mantex.co.uk Writing for Broadcast
Journalists guides readers through the significant differences between the
written and the spoken versions of journalistic English. It will help broadcast
journalists at every stage of their careers to avoid such pitfalls as the use
of newspaper-English, common linguistic errors, and Americanised phrases, and
gives practical advice on accurate terminology and pronunciation, while
encouraging writers to capture the immediacy of the spoken word in their
scripts. Writing for Broadcast Journalists includes: * practical tips on how to
avoid 'journalese', cliches and jargon * guidance on tailoring your writing
style to suit a particular audience * advice on converting agency copy into
spoken English * writing to television pictures * examples of scripts from some
of the best in the business * an appendix of 'dangerous' words and phrases to
be avoided in scripts.
From YouTube to national television and radio more of us are appearing more often on the media. In this informative and readable new book, Alec Sabin provides expert coaching for both professionals and the general public on how to look good on TV and the Internet; and how to sound good on the radio. Taking a wide-ranging approach, Alec discusses the aims of good presentation; how the interview works; and how mastery of your material is crucial. On the technical side he provides exercises to improve vocal quality and breathing; tips on controlling nerves; and an insight into how the technology of the TV and radio studio can work for you. He gives expert guidance on ad-libbing; podcasting; reading a script; and interviewing. This book will be essential reading for students of media studies; professionals in TV, Internet and radio presentation; and anyone who has to make a great first impression in public.
