TV Director Research Articles

ANALISIS FITUR APLIKASI INTERNET MOVIE DATABASE (IMDB) DENGAN METODE CUSTOMER KNOWLEDEGE MANAGEMENT(CKM)

This study aims to analyze the features of the Internet Movie Database (IMDb) application using the Customer Knowledge Management (CKM) method. CKM is an approach to collecting, managing and leveraging customer knowledge to support decision making and improve customer relationships. In the context of IMDb, CKM can assist in understanding user needs and preferences, providing a better experience, and increasing user satisfaction. This study uses a feature analysis approach to evaluate key features in IMDb applications and determine how these features contribute to management. customer knowledge. Features that will be analyzed include complete information about movies and TV series, cast lists, directors, producers, ratings, user reviews, search features, recommendations, and community features. The method used in this study is CKM, which involves collecting data from different sources, such as IMDb application documentation, analysis of application components, and user feedback. These data are then analyzed and evaluated to determine the effectiveness of IMDb features in supporting customer knowledge management. The results of this analysis are expected to provide useful insights for IMDb application developers to improve user experience, improve existing features, and identify areas for improvement. potential. In addition, this research can also contribute to the understanding of the application of CKM in the context of the entertainment industry and the importance of customer knowledge management in achieving higher user satisfaction.

West as home in Ruba Nadda’s films

ABSTRACT In this essay, I draw on the concepts of accented/transnational cinemas to discuss four feature films directed by Canadian Syrian filmmaker and TV director Ruba Nadda. Through Sabah (2005); Cairo Time (2009); Inescapable (2012); and October Gale (2014), the viewers witness the reconstruction of the West as home from the standpoint of a Canadian-born Toronto-based woman filmmaker of Arab descent. Despite Nadda’s constant yearning to her Arab origins, one can claim that borders between Arab and non-Arab are not always blurred in her films. Instead, cultural bridges are built across borders to transcend the traditional poetics of exile/immigration and to overcome politics of cultural despair triggered by binaries such as East and West, homeland and hostland, national and transnational belonging, etc. By focusing on issues of homeness, integration, religious difference, and cultural recognition, on the one hand, and questions of home-returning and home-reconstruction, on the other hand, I argue that no matter where Nadda’s characters dwell, they belong to the Western set of values, and they represent each a facet of her multiple identities, chief among them Western individuality. I also investigate the filmmaker’s gender-based approach to mainstream cinematic genres such as romantic comedy and thriller and her interest in these genres as a TV director as well.

In Memoriam: Robert (Bob) Miller 1947–2022

In Memoriam: Robert (Bob) Miller 1947–2022

HUMANIS? IDEOLOGY OR THE VALUE OF RELIGIOUS HUMANISM: RESEARCH ON FIGURES DAMIEN DEMATRA

Human values ??have an important role in realizing a safe, peaceful, and serene life in society. This can be achieved when everyone implements a humanist ideology or a view of human values ??in everyday life. The focus of this research is to describe Damien Dematra's social ideology, to describe his social background, and to describe Dematra's social position in society. This research uses qualitative research, data collection techniques use interviews, data analysis techniques use interactive techniques, and the validity of the data used is theory and source triangulation. The results showed that Dematra's social ideology was a humanist person. This is evidenced by his attitude, thoughts, and activities which are dedicated to humanity and world peace. Dematra's social background is a multitalent person or Dematra usually finds himself as an artist. This can be seen from the various fields that he has done, such as photographers, businessmen, painters, novelists, screenwriters for films and TV series, directors, actors and producers. Most of the professional fields that Dematra does have received recognition or awards from both international and domestic. Not only that, Dematra's work, which has contributed greatly to humanity and world peace, has received recognition and respect from the Keraton Surakarta and Keraton Cirebon. Dematra received a knighthood from the Keraton Sultanate of Surakarta and Keraton Kasepuhan Cirebon. Every work produced by Dematra always gives a message of the value of humanity and peace. This is the basis for Dematra's work to be recognized, accepted, and even given respect or appreciation for its great contribution to humanity and peace. Dematra's social position in society also plays an important role in realizing human values ??and peace in Indonesia and the world. Dematra plays an active role as the coordinator and founder of the Pluralism Concern Movement. Pluralism Concern Movement is a non-governmental organization concerned with issues of pluralism, diversity and tolerance in society. There is a relationship between social position, social background, and Dematra's social ideology, this connection refers to one thing, namely the humanist ideology. Keywords: humanist, ideology, humanity

Innovation and Entrepreneurship of Broadcast and TV Director Major from Self Media Platform

<p style="text-align: justify;"><span style="font-size:16px;font-family: 'Times New Roman','serif'">With the continuous development of social economy, China's education industry is also developing. At the end of the 20th century, the emerging major, broadcast and TV director, also developed. Under the background of the popularization of quality education and the deepening of education reform, the new education model advocates students to master the methods and strategies of learning in the process of learning, and pay attention to students' ability of innovation and practice. In the education and teaching activities, the innovative and entrepreneurial education model through cooperation between schools and enterprises can promote students to improve their theoretical ability, innovation and practical ability. However, with its rapid development, there are some weak links in teaching practice. This paper proposes a new perspective on these misunderstandings and weaknesses, and introduces innovative ideas. Through the innovative research of this profession, we will achieve a higher field of educational development.</span>

THE METHODICAL ASPECTS OF DISTANCE LEARNING FOR ART’S EDUCATIONAL PROGRAMMES

The article discusses the problem of methodical aspects integration in distance learning for Art’s educational programmes in Higher Educational Institutions (HEI). The relevance of research reflects the quarantine measures for the non-proliferation of coronavirus infection Covid19 in Art's universities of Kazakhstan in current state of distance learning. The novelty of the research is the implementation of educational policy according to the Kazakhstani state program within the conditions of distance learning. The aim of research is to reveal the methodological aspects for training Art students within distance learning in accordance with the topical problems in education, based on the new technologies and methods of digitalization. Primary methods of research are based on Case studies, which include theoretical review of the practical application of the MOODLE platform into distance learning. The result of the research is disclosure of the experience of the Art’s teachers in conducting the study process within the framework of distance learning technologies (DLT). The research illustrates the example of study process of the Department of Scenography of T. K. Zhurgenov Kazakh National Academy of Arts based on the bachelor educational programs: Stage decoration, Multimedia scenography, Film and TV director, Stage costume, Theatrical makeup.

Theoretical principles of K.S. Stanislavsky on the super-task and end-to-end action in the professional activity of a television director

The author focuses the attention of actual and future TV directors on such important issues in their professional activities as the "end-to-end action" and "super-task" concepts taken from the arsenal of the Stanislavsky system. The material of the article can be used in the preparation of courses in the program track "Film and Television Directing" (specialist level).

Analysis of the Influence of Computer Aided TV Program Production on Radio and TV Directors

Since the reform and opening up, China’s TV industry has achieved rapid development. Among them, the core role of radio and television directors in TV programs is very significant, and it is an important part of the TV communication process. With the continuous development of science and technology, the way TV programs are produced is constantly evolving. At the same time, changes in the way TV programs are produced have had a major impact on broadcast television directors. Briefly describe the influence of computer-assisted TV program production methods on radio and TV directors, then analyzes the role and influence of radio and television directors in the production of TV programs, and finally proposes the innovation and improvement measures of radio and television directors in the new media era, in order to continuously improve the program quality and communication effect.

Research on the Cultivation of Documentary Thinking Mode in the Teaching of Radio and TV Directors Based on Computer Aided Technology

In recent years, the economic development has promoted the prosperity of cultural undertakings, and has also given the broadcasting and television industry a broader prospect and constantly satisfying people’s spiritual and cultural needs. Radio and television directors should further create works that are more novel and meet the needs of people’s lives. Through the use of computer-aided technology, this article first deeply explores the practical value of the recording and thinking training of broadcast and television director, and puts forward suggestions and measures, hoping to contribute to the development of China’s radio and television industry. Only pay attention to the development of the recording and thinking of radio and television directors, promote development with record-based thinking, make radio and television programs more adapt to the trend of the times, provide better TV programs for the public, and promote the healthy and sustainable development of the entire industry.

Strategi Riau Televisi (Riau TV) Menghadapi Persaingan dengan TV Nasional untuk Tetap Eksis Sebagai TV Lokal

Riau Televisi (Riau TV) is the first local television station in the Riau region located in the city of Pekanbaru. As a local television station in Riau, Riau TV clearly has to compete with national television stations, in fighting for viewers in the Riau region. In order to be able to compete with broadcasts from national television, as local television, Riau TV has a special strategy in broadcasting programs, including for marketing targets. The purpose of this research is to find out the strategy carried out by Riau TV, in facing competition with National TV and maintaining its existence as a local TV in Riau. The theory underlying the research is the theory of Media Ecology by Dimmick and Rothenbuhler. In media ecology theory, Dimmick and Rotherbuhler revealed that media needs life-supporting sources, namely types of content, types of audience. and capital. This study uses descriptive qualitative methods and data collection through interviews with Riau TV directors and management, observation and document collection for research purposes. The paradigm used in this study is constructivism. The main focus in this research is to find out what strategies Riau TV has taken to be able to compete with national TV in maintaining its existence. The results of this study concluded, to be able to compete with National TV, Riau TV has a strategy, among others; (1) Strategies for local content TV programs to capture the local audience market, (2) Strategies to expand cooperation networks with local governments, (3) Strategies utilizing internet technology and (4) Strategies to hold off air activities and special moments

Discussion on Creation of TV Directors under the Background of Media Convergence

Rapid development of digital technique and network technique has accelerated convergence of various media, i.e., the convergence among paper media, TV media and other media. As the main force in creation of TV programs, the importance of TV directors is not to be ignored under the background of media convergence. Therefore, TV directors have to meet higher requirements. They should not only actively recognize and face modern fierce competition, but also enhance their own professional knowledge, skills and competence, and thus enrich the exhibition forms of TV arts. For this reason, the author has conducted analysis and discussion on creation of TV directors under the background of media convergence.

Study of Program Innovation Based on the Quality of TV Directors

The quality of TV directors is closely related to program innovation. The effect of program innovation is affected by the quality of TV directors, that is to say, the quality of TV directors has an impact on the sustainable development of TV programs. The work of TV directors is not limited to the selection of materials, and production. TV directors should be highly sensitive to news and have strong innovation capability, which can ensure the constant success of TV programs. This paper objectively analyzes the quality of TV directors and explores TV program innovation.

How the Rate of Organ Donation Increased Again in Iran

Introduction With 2 weeks educating the Organ Procurement Units (OPU) directors and staff we could increase the rate of organ donation in Iran but we realized that they are not able to function ideally without help in their provinces. Therefor we created a group of experts in organ donation process and by sending this group to different provinces helped the OPUs to put their train on the rail. Material and Methods A group of experts in different aspects of organ donation (Detection, Brain dead diagnosis and confirmation, Donor Maintenance, Family interview, organ preservation and procurement paperwork) was made. The program named Iranian OPU supporting system (IrOSS). Provinces with higher population but lower PMP were chosen first. The group would go to that province and start motivating and educating (Theoretically and practically) the following groups for one week about organ donation and then for 2 years by periodic travels and strict control of their activities: 1. Authorities including the University director and his/her assistants, Mayor, TV director and religious leaders 2. Director of OPU and the coordinators 3. Brain dead confirmation team 4. Forensics 5. Anesthesiologists and ICU specialists 6. ICU nurses 7. Medical Students 8. Volunteers Results IrOSS course has been hold in 5 provinces which its results are presented in table 1. Conclusion IrOSS could improve organ donation significantly. It shows that an expert team in every country should get the responsibility of periodic educating and promoting the OPUs to help them for improving their organ donation system.

Is Education Enough for Improving Organ Donation or Something Even More Important is Missing?

Introduction To improve organ donation in Iran all of the OPU director and chief coordinator participated in a national and then an International (TPM) course in Tehran. Then we noticed that these 2 weeks education has not been enough for OPU directors to manage their OPU and have an acceptable rate of organ donation. So a well-designed 1 week course was established and a team of 6 experienced lecturers accompanied by 3 executive persons hold one week comprehensive education course named IrOSS (Iranian OPU Supporting System). Material and Methods Iranian society of organ donation developed a one-week educational program for deceased organ donation activity which was held in 8 provinces of Iran.It was a one week training course by a group of experts in different aspects of organ donation (detection, brain dead diagnosis and confirmation, donor maintenance, family interview, organ retrieval and preservation …). Target groups were 1. State authorities including the Mayor, TV director and main Religious leader 2. University director and authorities and the director of OPU and the coordinators, 3. brain dead confirmation team and forensics, 4 anesthesiologists and ICU specialists, 5 ICU nurses, 6 medical students and 7 volunteers. Organ donation rate during one year before and 6 months after the course were compared together. Results OPUs were compared for their director characteristics (physician or nurse, full time or part time, educated for organ donation or not and whether they established the system which they learned about that during IrOSS or not? Tthere were 4 different situations in these 8 States. 1. In the State that the director was full time and stablished the system there was 4.8 time more increase in pmp 2. In 4 states that the director was full time but didn’t establish the system, pmp improved 2-2.8 times. 3. Two states that their directors were not full time and didn’t establish the system completely, improved 1.4 and 1,5 times 4. In the State that OPU director was not full time and also didn’t establish the system, the rate of organ donation dropped 40%. Conclusion These data show that although the comprehensive educational courses like IrOSS is helpful but if a full time dedicated person doesn’t lead the OPU organization and doesn’t establish what he/she learned during the course, there won’t be any dramatic improvement. So selecting the responsible OPU director as a key person could lead to substantial increase in organ donation rate.

ТВОРЧА ДІЯЛЬНІСТЬ УКРАЇНСЬКОГО РЕЖИСЕРА КІНО І ТЕЛЕБАЧЕННЯ В. Г. ГОРПЕНКА

The purpose of the article is to analyse the creative activity in audiovisual art and production of Ukrainian film and TV director, actor, teacher of screen arts, Doctor of Arts, Professor, Academician of the Higher School Academy Volodymyr Hryhorovych Horpenko. Research methodology is based on applying the personological method, the method of the theory of individuality and the historical-biographical one. These approaches allow the researcher to collect and analyze the unknown or little-known facts about Volodymyr Hryhorovych Horpenko’s creative activity in screen arts. Conclusions. Concluding the aforementioned, it can be stated that the scientific objectives have been accomplished: personal life and career of Ukrainian film and television director V. Horpenko have been studied; his advent to cinematography has been described; the reasons why V. Horpenko refused to shoot the feature film «Nina» with О. Shvachko have been analysed; the situation formed at the time of work on the film after the same name science fiction novel by the Struhatsky brothers «Hard to be a God» has been described; the directing work of V. Horpenko on Ukrainian television has been mentioned. Nevertheless, the prospects for scientific research remain promising, as V. Horpenko continues active work in the sphere of audiovisual art and production, as well as pedagogy of screen arts of Ukraine. The significance of this research in terms of Art History lies within discovering and introducing the new important facts about creative activity in audiovisual art and production of Ukrainian film and television director, actor, teacher of screen arts, Doctor of Arts, Professor, Academician of the Higher School Academy Volodymyr Hryhorovych Horpenko.

Between film and TV: Cursilería and the return of politics in 1970s’ Spain

Abstract Only recently have some critics started challenging the image of an elitist New Spanish Cinema in the 1960s and 1970s, disconnected from the general public and in indirect complicity with Francoist strategies of international self-promotion. Within that trend, the fact that the most important names of the New Spanish Cinema were simultaneously working as publicists, scriptwriters or TV directors allows us to map a more complex reality. Fascinated with a new medium full of unknown possibilities, those directors assimilated new techniques and the possibilities of dealing with a different and much bigger audience. The TV experience was not only the point of departure for a renewed aesthetic, but also for a more complex positioning of film as a political tool that was conceived then not in radical opposition to Francoist mass media but as strategically linked to them. This analysis of a paradigmatic film of the period in dialogue with TV aesthetics, Martín Patino’s Canciones para después de una Guerra/Songs for After a War (1976), opens the possibility of a re-contextualization of TV ‘cursilería’ and its transformation into modern kitsch as an innovative aesthetic and, simultaneously, an oppositional discourse.

Interaction as a tool for developing a studio-based TV talk show

ABSTRACTThe purpose of this article is to outline a new, more clearly defined object and tools for learning in studio-based TV talk show productions. The theoretical framework from work development and interaction research is introduced using results from a case study about a weekly factual talk show series for Finnish public service TV. The show was a co-production between the Finnish Broadcasting Company and its commercial production company partner. The focus of the case study's interactive ethnography was on actors' work-related talk producing the acts of learning. On the other hand, the research sought to find disturbances in interaction where the workers really carried on the multilateral TV talk show in the TV studio under the circumstances of direct recording. The journalistic team planning the topics and the conversational strategies wanted to promote free conversation between the host and the guests, but the multi-camera team and the TV director needed a host-centred format so they could start and end the conversation around visual inserts. The disturbances became visible in the discourse analysis, and they revealed the larger imbalance between the aims of the journalistic content team and the working practices realizable for the visual camera team. The theoretical conclusion is that cooperation in TV production work seems to require a much greater scope for interaction between the content and the form. The high-quality activating journalistic TV talk show needs to be based on responsive and enriching practices in the dialogical construction of meaning. For the future, special dialogical learning platforms are needed for developing TV working practices between professionals in journalistic and visual storytelling and in making the audience a participant in the process of meaning creation in the circumstances of genuine co-configuration.

A Film Director in Search of the Genre

The book of EL Maslennikov, a well-known film director, "From Personal Experience: Maxims, Theses, Observations, Quotes, Events, Gossip, Rumours and Lies" published as a teaching aid for would-be film and TV directors has quickly become a best-seller. At the moment its second edition is being prepared which is going to include new "piles" written by the author. One of them is presented in our journal

Baseball Digest Production System using Inductive Logic Programming

Here, we propose a technique to acquire knowledge for baseball digest video production using an inductive inference approach. We integrated the concept of inductive logic programming (ILP) and baseball game metadata to enable learning of the highlight scene definition from digest video produced by a TV director. ILP is a learning method formed at the intersection of machine learning and logic programming, and an ILP processor can acquire the highlight scene definition by inductive learning from scenes that are selected as highlights in sports news. This technique makes it possible to generate a semantic digest automatically,which includes not only score scenes but also attractive scenes reflecting the director’s intention.

TV director calls the shots, not the advisers

TV director calls the shots, not the advisers