ONTOGENESIS OF CLEAR IMAGE: CONTEMPORARY TELEVISION AND FILM PROGRAMMING ON RADIO TELEVISION OF SERBIA IN THE DIGITAL AGE FROM AN EDITORIAL PERSPECTIVE

The Emergence of Audience as Victims

In the past ten years a number of impressive media products have helped to popularize women's oral history. Slide shows, video productions, and films based wholly or in part on oral interviews have helped bring women's history to a larger public audience and have been used in women's studies classrooms. Pathbreaking historical documentary films like Union Maids and The Emerging Woman were followed by Great Grand Mother, With Babies and Banners, The Life and Times of Rosie the Riveter, and Talkin' Union.2 Some video productions have been sponsored by public television, such as Plainswomen, Men and Children.3 Hardest to market and least well known, slide-tape programs like Good Work, Sister! have reached local audiences and occasionally regional or national markets. They have the virtue of costing less to produce than film or video.4 Merging as they do technical and historical skills, most of these projects have involved collaboration between academics and media professionals. In many instances, historians or persons active in the women's movement simply decided there was a story that should reach a larger audience, and they learned media production techniques in order to achieve that goal. Julia Reichert and James Klein, who produced Growing Up Female and Union Maids, set out not to become filmmakers but rather to provide accurate images of women to combat popular media stereotypes. Just as women's historians began using and refining oral history techniques to gather data that was not available in written records, so we have also begun to explore visual media in order to reach a larger audience. Motivated by a desire to educate the public about women's historical contributions, and thus to empower more women, the temptation is strong to move from tape recorder and print to a media product. The technical problems of translation from one medium to another, however, and of moving from an academic to a popular mode, can be as overwhelming as they are seductive. We speak from experience. This does not mean we speak from expertise. In 1978-79 we co-produced a slide-tape presentation about working-class families from the Cripple Creek, Colorado gold mining district, entitled We Were Never Supposed To Be Rich. It was an unfortunately prophetic title. Like most women's oral history media products, this one involved the sharing of skills and expertise. We both have academic backgrounds, Jameson in American studies and history, Lenfest in English. Lenfest is experienced with still photography and film and had produced experimental films and a documentary, but he had not previously used historical material in media. Jameson was the historian for the project, which was based on interviews she had begun in 1975 with elderly residents of Cripple Creek. In 1977 we began trying to raise funds to make a film based on the experiences recorded in those interviews. We were unable to raise enough money, but we did receive funding to produce a slide-tape oral and visual history. At the time we saw the project as preproduction for the film we wanted to make. Slide-tape was not our preferred medium for a number

A technical skills elective program for pre-clerkship medical students reduces levels of high anxiety for performing technical skills

In the last decades, European public service broadcasters have faced the erosion of both their viewing share and their revenues. Although they have responded to the challenge from commercial broadcasters, technological convergence and the digitalization of the communication landscape present public broadcasters with new challenges. Public broadcasters may have entered the most difficult phase in their long history since their survival in the new digital and convergent media environment is uncertain. This chapter describes the challenges public broadcasting faces in an increasingly competitive digital television market. It provides an account of the current state of public broadcasters in Europe. It then explores the two major challenges they are going to face, the fiscal crisis and the threats posed by convergence and digitalization. Finally, it discusses the role of public broadcasters in the new European television landscape.KeywordsPublic ServicePublic ChannelPublic BroadcasterCapital InjectionPublic Service BroadcastingThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Introduction Optimal care of acutely unwell patients requires proficiency in both technical and non-technical skills. A-crisis stands for anaesthesia, assessment and airway crises management. This course has been designed for consultants; to give them the opportunity for the formative development of advanced technical and non technical skills such as communication, resource allocation and critical decision making. Methods We performed a retrospective review of pre and post-course evaluation forms. Qualitative and quantitative data from consultants who attended 5 courses was analysed. A 5-point Likert-type scale was used to give responses a quantitative value with 1 corresponding to ’Strongly disagree’ and 5 corresponding to ’Strongly agree’. Results Feedback from 38 consultants was analysed. 33 work primarily in the public sector and 5 in the private sector. Feedback, was generally positive. Course content and delivery were deemed appropriate to the participant’s training needs and clinical practice as shown in table 1. Aspects of the learning environment such as the faculty debrief and atmosphere, followed by the clinical scenarios, were identified as the elements of the course that participants liked the most. Logistical issues such as organisation of the day predominated when participants were asked what they liked the least. In addition, the anxiety caused by participation in the simulation scenarios was identified by several candidates as their least favourite part of the course. Discussion Simulation-based medical education is now a mandatory component of the anaesthesia training scheme in Ireland. However, most consultants completed training prior to its introduction; thus it is less common in this group. It is vital that as experts we keep up the technical and non-technical skills required to deal with rare critical situations. Simulation-based medical education provides the opportunity to do this in a safe learning environment. Recommendation Introduction of the SHARP 5-step feedback and debriefing tool. Conclusion Our simulation courses evolve in response to the feedback we receive from participants. This ongoing formative evaluation allows us to continuously improve our instructional design and target the areas our participants identify as lacking. In this way, we aim to provide the optimal learning experience for our colleagues and thus hope to contribute to a safer working environment. References Higham H, Baxendale B. To err is human: Use of simulation to enhance training and patient safety in anaesthesia. Br J Anaesth2017;119:i106–i114. doi:10.1093/bja/aex302 Gaba D. Crisis resource management and teamwork training in anaesthesia. Br J Anaesth2010;105(1):3–6. doi:10.1093/bja/aeq124

The Battle for Public Service Broadcasting: How Subsidiarity Opposes the European Commission and the Member States in the Application of the State Aid Rules Since the early 1990s, the European Commission applies the State aid rules (part of European competition law) to the funding of national and subnational public broadcasters. This article analyzes to what extent discussions on the regulation and funding of public service broadcasting are determined by a conflictual notion of subsidiarity. Focusing on encounters between the European Commission on the one hand and Germany, the Netherlands and Flanders on the other hand, the article concludes that Member States and the European Commission focus more on competence divisions than on substantive discussions about the future of public service broadcasting. This is particularly regrettable as the digital age requires a thorough re-thinking of the role of public broadcasters in Western European democracies.

This article assesses the significance of the Gay Cable Network (GCN), a production company that aired a dozen shows on public access cable television made by and for LGBTQ New Yorkers. Drawing upon archival research and interviews with producers, hosts, and assistants at GCN, I argue that LGBTQ producers experience both transformational opportunities for political engagement as well as precarity, frustration, and loss through public access cable television production. I evaluate the social experience of television production to analyze what I am calling affective production value: a metric that establishes how community media production generates a range of powerful emotional experiences for its producers. I examine the daily experience of queer television production through GCN founder Lou Maletta’s tireless efforts to produce and distribute LGBTQ programming for more than twenty years as well as the continuing efforts of his contemporaries on Gay USA, an LGBTQ news program that still airs weekly. Examining cable access shows in terms of affective production value allows scholars to decenter normative standards of production quality in order to understand how local production generates meaning for its producers, offering us the opportunity to explore the personal and cultural impact of community television production.

In countries with a mature public broadcasting sector and where public broadcasting is being challenged by the multichannel and digital environment, there is a veritable avalanche of discourse aiming to ensure the future of the sector. Various key concepts are intoned like mantras-public service, public sphere, citizenship, democracy-as if by their very repetition they had the power to hold hostile forces at bay. The present article examines just one of these-democracy-and suggests that the invocation of the term in typical defenses is at best imprecise and at worse outdated. Furthermore, in its devaluation of various forms of popular media, the typical defense ends up championing a set of media practices that are increasingly irrelevant. The article concludes that a generalized defense of public service broadcasting is "impotent" and must be replaced by localized and specific analyses of where public broadcasting fits in various media ecologies.

After technical engineers for the major television networks completed much of the early technological innovation for the nascent medium by the late 1940s, the budding industry recognized a massive need for recruiting Hollywood motion picture technicians to grab the technical baton from engineers and run with it, taking special care to get television production ready for prime time. As television’s aesthetic was not yet established, the recruitment of classical Hollywood motion picture cinematographers was a vital step in developing the look of television, in addition to standardizing its production to make it an economically viable medium. This article details the industry’s recruitment efforts through technical organizations, specifically focusing on how the American Society of Cinematographers (ASC) worked to recruit Hollywood cinematographers to television through its technical journal, American Cinematographer. This article also details the extensive technical and technological contributions of Hollywood cinematographers to early television production practices and equipment development after camera technicians increasingly migrated to television networks, independent stations, and production companies throughout the 1950s. As suburbanization and the Paramount Decrees worsened the decline of classical Hollywood movie studios, cinematographers found new, stable employment in television, in addition to gaining access to networks of cultural capital, the technical knowledge and skills essential for professional success, and potential promotion within the production hierarchy.

The television industry is facing new challenges when adapting to the current streaming ‎culture and exploring possibilities of digital distribution. Global streaming services are perceived as a‎ major source of audiovisual entertainment in various countries regardless of the cultural and national‎ heritage of the viewers and thus market competition has immensely increased. This paper focuses on the ‎influence of global video-on-demand (VOD) services on audiovisual production on a national scale. The‎ emphasis is on television production as the audience is transferring into the digital environment – this ‎is perceived as an opportunity for television to appear more competitive while drawing on its unique‎ knowledge of the national audience. The case study demonstrates how the audiovisual industry in the ‎Czech Republic is an example of a strongly nationally oriented market whose evolvement is impacted by‎ the presence of global platforms such as Netflix or HBO Max. Furthermore, by providing examples from ‎the Czech platforms’ market, the case study also illustrates the expansion of local broadcasting providers ‎into the digital sphere.‎

Technological advancements, changes in consumer behavior, technological accessibility, social media, streaming services, and advancements in production technology have all led to exponential growth in digital audio and video production. With media convergence, the distinction between audio and video media becomes unclear. This makes multimedia content more flexible. However, changing business models,copyright issues, and content quality are also affected by this phenomenon. The development of digital audio and video production has experienced significant exponential growth, influenced by technologicaladvancements, changes in consumer behavior, technological accessibility, social media, streaming services, and advances in production technology. Media convergence has blurred the boundaries between audio and video media, creating flexibility in multimedia content. However, this phenomenon also has an impact on changing business models, content quality, and copyright issues. Copyright issues are taking center stage in the industry, especially with the rise of video sharing and streaming platforms. Copyright protection is a major challenge, and the law must constantly adapt to technological advances. The methodological approach carried out in this study is called literature research. The result of the discussion was that alternative business models such as subscribe, crowdfunding, and partnerships became strategies to address copyright issues. By studying media convergence, recommendation algorithms, copyright issues, business models, and user roles can help us to understand and control complex developments in digital audio and video production. To maintain the integrity of this industry, ethical guidelines and responses to technological trends must be created.

In this special January 2007 issue on Interactive Entertainment, the Interviews column features a video interview with George Lucas on October 4th, 2006 at the University of Southern California. On that same day, George Lucas formally announced his donation of $175 million to the USC School of Cinematic Arts, formerly known as USC School of Cinema-Television. The reason that George Lucas renamed the world-renowned film school is due to the growing importance of interactive media in Hollywood and worldwide. Computer games have, for many years, captured the attention of Hollywood moguls such as George Lucas and Steven Spielberg. George, Steven, and many supporters of USC have decided that formal education on interactive media and gaming should be given equal priority and funding as traditional movie making and television production. Therefore, instead of appending "Interactive Media" to "Cinema- Television," the USC school simply changed its name to "Cinematic Arts." The implication for interactive entertainment cannot be understated. George Lucas has essentially proclaimed that interactive media and gaming are a part of cinematic arts. Will there be a George Lucas or Steven Spielberg-like genius in next-generation interactive entertainment that will win an Oscar? You bet there will be in the near future. In the video interview, you will hear George Lucas' answers to the following questions as well as his comments at the USC School of Cinematic Arts on October 4th: 1. Is your educational foundation "edutopia" doing anything about the digital divide, especially in terms of access to interactive entertainment? 2. One of the themes in all of your movies is human relationship to machines and technology - either controlling them, or being controlled by them. Is that true? 3. What do you think about the future of entertainment technology?

PurposeThis article aims to investigate whether and how the application of European state aid rules to the public funding of public broadcasting organisations in Europe has advanced public broadcasting as a policy process and made it more adaptive to the challenges of the digital age.Design/methodology/approachThe findings are based on a triangulation of literature study, document analysis and expert interviews (with over 50 stakeholders involved with the topic of state aid and public broadcasting).FindingsThe article consists of four main parts. Firstly, the issue of state aid and public broadcasting is contextualised within the heated discussions on the legitimacy of European intervention in a cultural policy domain such as broadcasting. Secondly, the analytical framework is presented. Thirdly, analysis of specific state aid cases follows. Finally, some conclusions and recommendations are outlined. The article concludes that European state aid policy has furthered a public service media project in the EU member states.Research limitations/implicationsThe article fills a void in current fragmented and often overly descriptive or overly ideological assessments of the relevance of state aid policy for public service broadcasting.Practical implicationsThe paper contributes to ongoing policy debates about the issue of state aid policy for public service broadcasting.Originality/valueThe article fills a void in current fragmented and often overly descriptive or overly ideological assessments of the relevance of state aid policy for public service broadcasting.

This article delves into the strategies of different Chinese news organizations’ (e.g., state-owned media, we-media, private news organizations) engagement with audiences in data journalism, aiming to attain dual legitimacy (identity legitimacy and institutional legitimacy) within the unique landscape of the digital media era in China. Utilizing the lens of organizational legitimacy, qualitative interviews were conducted with 26 Chinese data news practitioners. The findings reveal that news entities have adopted “restrictive involvement” and “substitutive involvement” strategies to limit audience engagement to superficial interactions within the consumption process of data journalism. Identity legitimacy has traditionally served as the primary incentive for news organizations to engage audiences, while institutional legitimacy has constrained the forms and degrees of audience engagement. The study posits that audience deployment by news organizations is more of a rhetorical maneuver than a practical engagement, symbolically involving audiences in China’s data news production. This research contributes an institutional perspective to the understanding of data journalism and audience engagement dynamics, shedding light on the intricate interactions between news entities, audiences, technology and the state within China’s context.

Vitriol, brimstone, and DICO in materials science