Delivering Screen Media Production Courses Online: Two Universities Share Perspectives

2015 ◽  
Vol 11 (1) ◽  
pp. 11-21
Author(s):  
John Hetherington ◽  
Trish FitzSimons
Keyword(s):  
Media Production ◽  
Screen Media

Serializing accumulation: Resident Evil and the synchronization of Hollywood cinema and Japanese television

2020 ◽  
pp. 135485652098375
Author(s):  
Daniel Johnson
Keyword(s):  
Media Production ◽  
Media Consumption ◽  
Global Media ◽  
Hollywood Cinema ◽  
Screen Media ◽  
Mode Of Presentation ◽  
Japanese Television

How does the tendency toward series reboots, sequels, and remakes in contemporary Hollywood intersect with television’s capacity for serialization? How does the logic of promotion in transmedia entertainment connect to television’s ability to perform simultaneity in relation to other forms of screen media? This article will describe and analyze how the Resident Evil films have been broadcast on Japan’s Asahi TV network throughout the 2010s, focusing on how the week-after-week programming of the films acts as a case for demonstrating how transmedia serialization brings into relief qualities of narration and aesthetics within the context of convergent screen industries and global media production. Focusing on the concept of accumulation, this article will argue how the mode of viewing invited by Asahi TV’s mode of presentation is one that can be addressed both in terms of how viewers make sense of complicated networks of meta-textual continuity and of how convergent media forms rely on practices of simultaneity in media consumption.

Video Profile Sebagai Media Penunjang Promosi Pada Sdk Penabur Gading Serpong

CCIT Journal ◽  
2019 ◽  
Vol 12 (2) ◽  
pp. 149-157
Author(s):  
Dewi Immaniar Desrianti ◽  
Giandari Maulani ◽  
Dana Krisdiana
Keyword(s):  
Marketing Strategy ◽  
Research Methods ◽  
Needs Analysis ◽  
Media Production ◽  
Promotional Effort ◽  
The Public ◽  
Adobe Photoshop ◽  
Support Information

The tight competition between schools in the era of globalization today, requires that the school Ivory Serpong Sower SDK to do the marketing strategy as attractive as possible, in order to enhance the new prospective learner interests as well as improve the quality of and professionalism in the management of the school. It is a promotional effort is used to market products or services to the public, so that they are more familiar with or know the product or service being marketed. Current media information and promotions that use the SDK Sower Ivory Serpong still be printed in the form of banners, brochures and more, so there are still many who have not yet learned about SDK Sower Gading Serpong. The purpose of this research is to inform and promote school SDK Sower Ivory Serpong. Based on a needs analysis is required of media promotion in the form of a video profile, to support information and promotion more attractive and effective by using the software Adobe Premier and Adobe Photoshop. Research methods used namely collecting data through observation, interviews and literature studies, Media Production and concept i.e. preproduction, production and postproduction. Through the design of Video media Profile of this SDK Sower Ivory Serpong can better known to many people and attracting parents to enroll his son in schools � SDK Sower Ivory Serpong

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

Candy and Drugs for Dinner

2019 ◽  
pp. 572-588
Author(s):  
Sean Guynes
Keyword(s):  
Comic Book ◽  
Gender Politics ◽  
Media Production ◽  
Comics Studies ◽  
Contemporary Media ◽  
The Aesthetic

This chapter links the seemingly disparate but deeply interconnected discourses and practices of contemporary media production, genre, aesthetics, and comics. It offers these arguments through a case study of the popular fantasy comic book Rat Queens and in the process demonstrates the critical utility to comics studies of reading genre, aesthetics, and industry together. The chapter reads Rat Queens through Sianne Ngai’s conception of the zany, cute, and interesting, showing how each of these categories is part of the aesthetic logic of the series, while also showing how each performs or critiques the series’ (superficial) investment in gender politics and the fantasy genre.

Drama production and audiences as ‘affective superaddressee’ in an illiberal democracy

2021 ◽  
pp. 136754942110086
Author(s):  
Siao Yuong Fong
Keyword(s):  
Writing Process ◽  
Affect Theory ◽  
Media Industries ◽  
Media Production ◽  
Television Drama ◽  
Film Research ◽  
Production Decisions ◽  
Illiberal Democracy ◽  
History Of

There is a long history of television and film research that highlights the essential roles audiences play in everyday production decisions. Based largely on Western media industries, these studies’ investigations of producer–audience relationships have revolved predominantly around the market concerns of liberal media models. So how do producer–audience relationships work when it comes to illiberal contexts of media production? Using Singapore as a case study, this article argues that existing approaches to producer–audience relations largely based on liberal media industries like Hollywood are insufficient for thinking through audience power in everyday media production in illiberal contexts. Drawing on insights from affect theory, I examine the materials gathered during an immersive ethnography of the writing process of a Singaporean television drama and propose conceptualizing audiences as an ‘affective superaddressee’, as a productive way to think about the work that situational audiences do in everyday media production in illiberal contexts.

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