TV Production Research Articles

Moses Matanda. Eagles in the Hut. 2022. 57 minutes. English. Honde Valley TV, in conjunction with Nhaka TV Production. No price reported.

Moses Matanda. Eagles in the Hut. 2022. 57 minutes. English. Honde Valley TV, in conjunction with Nhaka TV Production. No price reported.

Post-#MeToo Reflections on Pre-#MeToo TV Production: Female Actors’ Precarity, Agency, and Emotional Labor

Post-#MeToo Reflections on Pre-#MeToo TV Production: Female Actors’ Precarity, Agency, and Emotional Labor

The Sound of Capitalism: Thomas Pynchon’s Critique of Future Economic Realities through Don Giovanni in Bleeding Edge

ABSTRACT The topic of fraud in Bleeding Edge extends beyond financial deceit to alternative realities, which are fabricated by alleged time travelers. One such traveler aligns with Mozart’s Don Giovanni. Captive to ominous forces, he liberates himself in death but returns posthumously in a digital future, joining, this article argues, a sacred conspiracy, and the laughter of the Acéphale, which echoes Georges Bataille’s concept inspired by Mozart’s Don Juan. Thomas Pynchon discusses the themes of sin, deception, and fraudulent channels as he intertwines a TV production of Don Giovanni with allusions to Dante’s “Circles of Hell.” Pynchon’s portrayal of sound engages in a theological critique of future economic realities that draws from Bataille’s vision of expenditure value in a future economy while also observing Kierkegaard’s praise for Mozart’s Don Giovanni. The sinner’s odyssey unfolds in a technological future unfettered by repentance for excess and pleasure, but enchained in sound, which offers an eschatological discourse on digital transitions and economic futures. Pynchon’s narrative proposes a cultural exchange that aims to trade over-accumulation and compromised communication for an inner experience of sensuality, which prompts reflections on the impact of data centers, virtual gamescapes, money as medium, and information that shapes and accelerates our trajectory into the future.

Marketing religious programs on television as a nonfavorite program: a study in Indonesia

Purpose This study aims to examine the strategy of TV9 Nusantara, one of the local televisions in Indonesia, marketing its religious programs when soap operas are the most popular television programs in Indonesia. Design/methodology/approach This study used a descriptive qualitative method by collecting data using in-depth interviews, observation and documentation. Findings TV9 Nusantara used a counter-programming strategy to seize viewers from the competing television stations; the prime time is also set differently from other televisions as well as implements a head-sterling strategy to make the audiences loyal to watching TV9 Nusantara programs and not switch the channels. Research limitations/implications In Indonesia, three types of television stations are broadcast nationally, publicly or government-owned, central and regional and local television. This study only focused on local television stations whose main program is religious, especially Islam. Practical implications The results of this study can underline the importance of establishing segmentation, targets, differentiation and market positioning as well as efforts to create products, prices, places and promotions for journalistic products, especially TV broadcast products and production processes that follow Sharia principles. Social implications This study can inform the public regarding TV Broadcasting products and production processes following Sharia principles. Originality/value This study examined the implementation of marketing strategies and the marketing mix on local television, especially television that broadcasts programs that are not the favorites of most viewers.

P‐188: Analysis and improvement of TV product slapping bright spot defects

In order to improve "slapping bright spot" defect that frequently occurs in the client of TV products, this paper clarified that the defect is different from the dropping red spot caused by PS shift. It is an irregular tiny vacuum bubble caused by incomplete filling of liquid crystal (LC) due to poor wetting on PI surface. With the help of effective simulation and characterization techniques, the defect can be completely eliminated through process or OC material optimization. The follow‐up can still continue to conduct in‐depth research from OC material system and LC material monomer, which gives clear direction and reference basis for new products.

Water Tower Home transformation: bottom-up urban regeneration through a reality TV show

The article examines Wutopia Lab’s transformation of the Water Tower Home (shuita zhijia, also know as ‘House on the House’), a top-floor unit of a residential building converted from a water tower located in a Bulinli lilong neighbourhood in Shanghai. In 2015, the top-floor unit was transformed into a three-bedroom apartment, which was featured in a popular reality TV show Dream Home. Using the concept of ‘raumplan’ as the primary design strategy, the design deploys various heights and platforms to re-organise the internal space while largely maintaining the exterior appearance of the building. It deliberately avoided homogeneous visual control and accommodated the residents’ complex functional requirements within a highly restricted space. The research scrutinises various actors’ involvement during the production of the reality TV show and the transformation process. It highlights how the design team navigated the stakeholders’ complex needs and the rigid yet ambiguous policy related to the regeneration of Shanghai’s unofficial urban heritage. By reflecting upon the various formal and informal design practices in this structure and its eventual demolition, the article illustrates the dilemmas in bottom-up regeneration of the historic urban environment in contemporary China.

The good manager in TV: tales for the Twenty-first century

The UK Creative Industries provide meaningful employment to more than two million people (Creative Industries Council, 2022) with opportunities for self-actualisation and satisfaction beyond what many jobs can provide. This is so particularly within the television industry where, since 2015, new streaming services have massively expanded demand for content and consequently employment. Such opportunities, however, have been heavily dependent upon a freelance workforce, whose experience is often characterised by financial insecurity, poor work-life balance, and lack of coherent career structure or support, within a system that predicates against diversity. This article sets out to address some of these issues and their solutions by offering, and problematising, the concept of ‘The Good Manager in TV’. In 2021 the authors followed-up an earlier survey of management practices in unscripted TV production across the UK with a series of in-depth interviews with individuals who, in another context, would be characterised as ‘middle managers’. Our data suggests that the challenges faced by the would-be good manager in TV can seem overwhelming, evoking the predicament of Brecht’s Good Person of Szechwan. Yet it also points to solutions to those challenges. This article reviews our findings in order to answer the following questions: What does it mean to be a good manager in the volatile, project-based, context of TV production? What are the challenges faced by those who aspire to fill the role? How can such challenges be addressed across this evolving creative industry?

Networks revisited: Social media, inequality and network culture in the independent television production sector

This article revisits an earlier investigation of the impact of networking practices on social inequality and creative work in the British independent television production sector. The original study analysed the role of networking as a means of finding work and developing a career, as well as highlighting the exclusion of individuals without high levels of cultural and social capital. The present study updates the earlier research, exploring how the rise of social media platforms has transformed the nature of social interactions and the implications of this for the television industry. The analysis focuses on the experiences of six of the original cohort of interviewees and six people who have entered the industry since 2015. The article examines interviewees’ social class through social origin, utilising the NS-SEC 3 class classification system, to explore the role that social class plays in networking, and whether the largely middle-class and exclusive milieu of TV production culture in the mid-late 2000s has become more or less inclusive in recent years. Through qualitative analysis of interviews, the study explores differences between the two groups in their experiences of networking, the affective costs of labour intensification, their attitudes towards inequality, and their tactics for navigating a highly socially stratified labour market. The article aims to contribute to a better understanding of the complex relationship between social networks, the television industry and wider social inequalities. The study suggests that the rise of social media has been a catalyst for a transformation in how social networking takes place in the television labour market, potentially opening up the industry but also reinforcing existing inequalities.

Their Bodies, Their Selves: Reflexivity and Embodiment in 2010s Women's Autobiographical Author-Performer TV Dramedies

Abstract During the 2010s, American television witnessed a growing attention to and presence of women, both in TV representation and in TV creation and production. As part of that development, the self-representation of women who are both the creators and the stars of their shows — such as Lena Dunham (creator and star of Girls; HBO, 2012 – 17), Tig Notaro (creator and star of One Mississippi, Amazon, 2015 – 17), Issa Rae (creator and star of Insecure, HBO, 2016 – 21), Pamela Adlon (creator and star of Better Things, FX, 2016 – 22), and Frankie Shaw (creator and star of Smilf, Showtime, 2017 – 19) — has been on the rise. This article examines these five dramedies in which women both exert authorial voices in telling their own stories and bring to bear performative embodiment in starring in these autobiographical texts. The textual multilayeredness of these author-performers’ autobiographical dramedies, the article shows, reveals the ways in which authorship and performance operate in the realm of women's televisual representation.

The regimentation of femininities in the world: the translated speech of non-Japanese women in a Japanese TV documentary series

Abstract This paper aims to demonstrate the ideological workings of translation by analyzing the ways Japanese women’s language is employed to translate the speech of women in seven cities worldwide in a Japanese TV documentary series. The analysis finds that the TV production team allocates the features of Japanese women’s language differently to the speech of women according to region, drawing boundaries between women in Europe and the Americas, those in Asia and Africa, and Japanese women. The program’s practices of translation regiment the femininities of women according to region in terms of formality and politeness by actively expanding the indexicality of features of Japanese women’s language away from reticence, politeness, and gentleness, and by restricting the use of these features to co-occurrence with the plain form. The analysis implies that this regimentation of femininities serves to reproduce and reinforce Japanese domestic stereotypes concerning women in distinct regions among Japanese audiences.

Digital Séance: Fabricated Encounters with the Dead

Digital afterlife is becoming increasingly possible due to advancements in VR, deepfake, and AI technologies. The use of computational photography for mourning and commemoration has been re-integrated into practices of remembrance, farewell, continuity, and disengagement. Two case studies, the Shoah Foundation’s Dimensions in Testimony and the TV production Meeting You, are analyzed to explore these new possibilities. We show how photography’s new affordances enable interaction while maintaining its essence as a representation of reality and argue that this socio-technological transformation habituates contemporary practices of mourning and commemoration, adjusting images to serve the individual needs and interests of the bereaved and the community.

Adaptable 2D to 3D Stereo Vision Image Conversion Based on a Deep Convolutional Neural Network and Fast Inpaint Algorithm.

Algorithms for converting 2D to 3D are gaining importance following the hiatus brought about by the discontinuation of 3D TV production; this is due to the high availability and popularity of virtual reality systems that use stereo vision. In this paper, several depth image-based rendering (DIBR) approaches using state-of-the-art single-frame depth generation neural networks and inpaint algorithms are proposed and validated, including a novel very fast inpaint (FAST). FAST significantly exceeds the speed of currently used inpaint algorithms by reducing computational complexity, without degrading the quality of the resulting image. The role of the inpaint algorithm is to fill in missing pixels in the stereo pair estimated by DIBR. Missing estimated pixels appear at the boundaries of areas that differ significantly in their estimated distance from the observer. In addition, we propose parameterizing DIBR using a singular, easy-to-interpret adaptable parameter that can be adjusted online according to the preferences of the user who views the visualization. This single parameter governs both the camera parameters and the maximum binocular disparity. The proposed solutions are also compared with a fully automatic 2D to 3D mapping solution. The algorithm proposed in this work, which features intuitive disparity steering, the foundational deep neural network MiDaS, and the FAST inpaint algorithm, received considerable acclaim from evaluators. The mean absolute error of the proposed solution does not contain statistically significant differences from state-of-the-art approaches like Deep3D and other DIBR-based approaches using different inpaint functions. Since both the source codes and the generated videos are available for download, all experiments can be reproduced, and one can apply our algorithm to any selected video or single image to convert it.

Inside the commentator’s booth: a Multimodal (Inter)action and Conversation Analysis on the production of first division football commentary on TV

Abstract This paper discusses the linguistic features of the production of football commentary within its macrosocial contexts. It contrasts the communication of the TV production team during a football game with the live football commentary aired on TV. Applying a mixed methods analysis, it reveals how football commentary is prepared and produced in the technical setting of the commentator’s booth in a stadium. This study reveals how a medial reality of the same events concerning a goal are broadcasted in the 11 min highlight video football commentary. The author and her co-principal investigator video recorded a total of 36 h in four work settings. Finally, retrospective interviews with the commentator and head of sports of the TV station place the study in the broader social context of football as a media production. In this paper, I show how live football reporting is prepared and conducted using two different theoretical and methodological frameworks: Conversation Analysis (CA) and Multimodal (Inter)action Analysis (MMIA). Both provide insight into the synthetic verbal, non-verbal and parallel actions for the successful production of the football commentary and they also reveal the sequential structure of naturally occurring talk (CA).

The conventional media's political economy practices in the media convergence era: Case study of labor commodification in TV industry

Technological developments provide benefits for the society in receiving information and entertainment. This has resulted many innovations made by the communication media industry players, one of which is NET. TV by conducting media convergence. Media convergence is a consequence caused by technological developments, which then affects competition in the media industry. Media convergence is gaining momentum in the communications industry, where digital technology is being used more than conventional one. Under the auspices of PT Net Visi Media, NET. TV has now looked at YouTube and over-the-top digital platforms. By looking at the transitions, this research was conducted with a critical paradigm by mapping the problems that occur related to vertical power relations, based on political economy theory of communication media by Vincent Mosco. Interview with NET. TV production team became the primary data, which was then analyzed descriptively. According to the characteristics coined by Vincent Mosco as an analytical tool, the result is NET. TV performs absolute and relative labor commodification during media convergence. Where the Tonight Show Premiere and Match Island production teams are required to be multitasking and work overtime without being paid.

P‐15.2: Light Output Degradation of Full‐frame Projection Laser Displays

Laser display technology can be applied to laser TV, laser projector and other products. In different applications, laser sources have different quantity and packages of lasers. Laser display technology has the advantages of large color gamut, high brightness and low power consumption. One of the benefits of laser is the narrow spectral bandwidth. As a consequence, the display can have a very large color gamut. Affected by a number of factors, the light output of laser display could possibly change with the operation time. Some failure factors of optical elements composing full‐frame projection laser displays that contribute to the degradation of light output are summarized, and under controlled temperature and humidity conditions, the light output degradation of two groups of DUTs were tested.

Implementing artificial intelligence technology in the Television production environment.

The television production industry has evolved dramatically in recent era, the AI technology is one the manifestations of technical development. This study sought to identify the extent which Artificial Intelligence technology is used in the Arab television production environment and to measure its ability to deal with these technologies. Thorough and in-depth interviews in Saudi channel 1's AI technologies Abu Dhabi television, Saudi news channel, Algiers beur TV channel, Al-arbya channel, Alsharq Bloomberg channel, Dubai channel.
 The acquired findings revealed that the Arab media environment is equipped to enable AI technologies at the level of financial capacity to adopt technical capabilities to use, however, the empowerment of this technology at the actual level and in the near perspective seems to be somewhat unlikely. The prevailing institutional culture in TV production which is based entirely on the human component in display and operation, the identification of responsibilities and the traditional dimension of management make it difficult to create administrative, creative and institutional environment that allows for accelerated steps towards enabling technology effectively and efficiently.

The wellbeing of ordinary people in factual television production

This article aims to explore the links between the structural organisation of the television industry and the wellbeing of the ordinary people who take part in its productions. Following a series of high-profile suicides, calls have been made for broadcasters to reconsider their duty of care. New regulations have been initiated in the UK, emphasising the need to risk-assess vulnerable contributors and provide them with psychological support. But these changes have been driven by moral outrage and media criticism rather than empirical research, and a lack of attention has been paid to understanding the views of the participants themselves. Based on in-depth interviews with a sample of 30 documentary contributors and producers, this article will seek to contextualise their experiences within the political economy of TV production, focussing on the impact of five recent developments in relation to working practices, jobs functions, narrative norms, marketing strategies, and the wider media ecology. My argument is that the wellbeing of contributors, producers, and the production environment are all intrinsically connected, and have been fundamentally reshaped by the neo-liberal reorganisation of the industry.

Audio Description for Cinema and TV Production in Lithuania

Audio Description for Cinema and TV Production in Lithuania

Polydiscursivity of the Internet meme as a realization of its linguo-creative potential

The Internet meme as a unit of information and semantic exchange, having a polycode structure and the status of a precedent text, has a high linguo-creative potential. The linguistic creativity of a meme is formed due to the mechanisms of indirectly derived nomination, which provides a multi-layered cognitive structure and is conditioned by the type and topic of discourse, which determines its wide demand and life cycle. The analysis of the array of Internet memes testifies to the stability of those units whose content plan is permanently relevant for users, corresponds to their cultural base. At the same time, according to the authors, it is the linguo-creative potential of the meme, the ability to change, that provides a long time cycle of its existence. In the article, based on representative material, possible directions of meme creative development are identified, including the expansion of the component composition of the original unit; replacement by another unit within the lexico-semantic group; actualization of evaluative or expressive components of its semantics. Memes with the dominance of the verbal part demonstrate great linguistic and creative potential, which leads to high variability in the selection of illustrations, the possibility of textual transformations. The text part in such memes freely participates in the contamination of memes, the creation of metamemes. Such memes can demonstrate great potential in generating new communicative units, going beyond meme accounts and Internet discourse. At the functional level, the linguo-creative potential is manifested in the use of memes in media headlines, in business account posts, in naming, advertising texts and TV products (including TV series). The authors come to the conclusion that anchoring in discourses of various types is also one of the key factors that allow a meme to remain in the information space for a long time.

FEATURES OF MODERN TV PRODUCTION TECHNOLOGY

Modern television production is characterized by the use of information technology and the transition to high-definition formats Ultra HD 4K and 8K. This entails high speeds of digital information transmission and large volumes of media information storage. In television production and broadcasting, two main trends can be identified – improving image quality, its resolution and increasing frame rates and the transition to IP and open communication standards, which indicates the merging of television and information technologies. After the advent of digital TV, it became even more obvious how much the impact of television on the viewer depends on the method of presenting the material, and therefore on the choice of technical means for producing TV programs. The improvement of TV production indicators was facilitated by the widespread introduction of non-linear editing technologies, which initially involve working with video and audio materials in digital format. An important step in the development of television technologies is the use of modern data storage systems based on information and network methods. The article discusses the technologies and features of TV production and the use of network systems, including Network Attached Storage and Storage Area Network.