scholarly journals Effective Media Use: Using Film And Television To Instruct An Organizational Behavior Course

2009 ◽  
Vol 2 (8) ◽  
pp. 37-50 ◽  
Author(s):  
Tom Kernodle
Keyword(s):  
Active Learning ◽  
Organizational Behavior ◽  
Media Use ◽  
College Level ◽  
Television Series ◽  
Film And Television ◽  
Effective Media ◽  
The Sopranos ◽  
University Instructors

Media can be used to effectively teach Organizational Behavior (OB) concepts at the college level. University instructors have the option to employ several different methods of teaching in order to convey course concepts in the classroom. This article describes the effectiveness that five particular pieces of media can have on active learning in an undergraduate OB class. The films For Love of the Game, 300, and 12 Angry Men, as well as the episode All Due Respect of the television series The Sopranos and the episode Did I Stutter? of the television series The Office, will be analyzed. This article provides a background on each piece of media, as well practical suggestions on how to use them to instruct OB.

Active Learning in Mechanical and Mechatronics Engineering, Case Study: Computer-Based Interactive Learning in Robotics Classroom

2010 ◽  
Author(s):  
Hamid R. Alemohammad ◽  
Mohsen Shahini
Keyword(s):  
Active Learning ◽  
Interactive Learning ◽  
Pilot Project ◽  
Learning System ◽  
Learning Methods ◽  
University Instructors ◽  
Computer Based ◽  
Initial Survey ◽  
Conventional Classroom ◽  
The University

This paper is concerned with the review of active learning methods implemented in Mechanical and Mechatronics Engineering courses. The active learning methods are categorized into two groups of in-class activities without the use of computers and computer-based classrooms. The strategies to encourage university instructors to adopt active learning methods are also discussed. The paper also addresses the pilot project for the implementation of a novel computer-based experiential learning in the course of “Robot Manipulators: Kinematics, Dynamics, Control” at the University of Waterloo, Canada. A Student Interactive Learning System (SILS) has been developed for in-class activities in this course. The SILS system has two components: students’ mobile devices and a front-end website in which the instructor has control to upload the demonstrations and quizzes and receive students’ responses. The students are connected to the website through the WiFi connection. Findings of an initial survey, which was conducted at the start of the semester, revealed that majority of the students find the conventional classroom passive and believe adding interactivity in the lecture enhances their in-class learning experiences.

scholarly journals Introduction: Transmedia Practices: A Television Branding Revolution

2014 ◽  
Vol 7 (1) ◽  
Author(s):  
Benjamin W. L. Derhy Kurtz
Keyword(s):  
Holistic Approach ◽  
Television Series ◽  
Film And Television ◽  
Transmedia Storytelling ◽  
Wide Range ◽  
Media Communications ◽  
Immersive Environment ◽  
Economic Perspectives ◽  
Multidisciplinary Perspective ◽  
Limited Duration

The television world is changing, having been impacted by mutations of three different natures: technological, narrative and participatory. Productions now use technology to enhance their content as television series and movie franchises are, increasingly, basing their narratives on principles of narrative complexity since active audiences do not only consume, but also engage with the said texts. These efforts made by the industry to target involved audiences demonstrate how transmedia practices have impacted not only on storytelling processes, but the text – and brand – itself, the latter no longer being a mere programme with a limited duration, but a whole, composed of numerous elements spread across media. The goal of the different players involved is, nevertheless, quite different. While fans’ activities represent a way to empower themselves and engage with this universe, the teams behind institutional transmedia strategies seek to secure more (faithful) customers and, incidentally, a higher financial return.Rather than reducing transmedia storytelling to the augmenting effect it had on the concept of narrative resulting from its ability to create an immersive environment, this issue seeks to discuss the wide range of economic perspectives available to film and television brands due to this very immersive environment. The transmedia phenomenon has, so far, mostly been approached from an either textual or participatory standpoint, but rarely so from a multidisciplinary perspective encompassing the marketing aspect. Providing insight on this topic – so far not discussed in Networking Knowledge – through contributions from researchers in media, communications, cultural studies and marketing, the issue seeks to enrich our collective understanding of transmedia practices, in the hope of offering a more holistic approach. In doing so, the various pieces presented in this edition clearly demonstrate that transmedia practices have revolutionised television branding.. and that it’s just getting started.

scholarly journals Television Series Review

2021 ◽  
Vol 10 (1) ◽  
pp. 53-54
Author(s):  
Michael McAndrew
Keyword(s):  
Therapeutic Relationship ◽  
Couples Therapy ◽  
Reality Television ◽  
Television Series ◽  
Therapeutic Treatment ◽  
The Real ◽  
The Sopranos

Showtime’s Couples Therapy (2019-2021) has done something very few shows have done well-showcase real therapeutic treatment on television. The advent of “prestige tv” has led to a proliferation of programs which show the therapeutic relationship in hi definition between protagonists and their therapists, such as HBO’s The Sopranos (1999-2007), and the recently revived In Treatment (2008-2010, 2021). Prior to this the “real” therapy seen on television was limited to the so-called “reality television” trend that gave us the wildly popular Intervention on A&E (2005-ongoing) and the seedier Celebrity Rehab with Dr. Drew (2008-2012).

Curriculum and Place

2017 ◽  
Author(s):  
William M. Reynolds
Keyword(s):  
United States ◽  
Significant Role ◽  
Curriculum Studies ◽  
Southern United States ◽  
Television Series ◽  
Place Studies ◽  
Film And Television ◽  
Education And Society ◽  
Work Done ◽  
Major Emphasis

Place matters. The conceptualizations and analyses of place defined in geographical and metaphorical terms play a significant role in understanding curriculum and are an exciting, important and ever-increasing discourse in the field of curriculum studies. As the discourses have developed, an increasing amount of scholarship has emerged that centers on place and its significance autobiographically, psychoanalytically, culturally, racially, and politically, not only in the field of curriculum but in education and society in general. There is also attention paid to the notion that understanding our place (situatedness) is as important as our positionality. There is a historical discussion on the manner in which studies of curriculum and place have focused on the southern United States; however, as the area has developed, the focus has expanded to place considered not only in terms of the southern United States, but other areas of the country and internationally. The discussion begins with notions of why place matters in curriculum studies and in our general understandings of place as well. A second major emphasis elaborates on the work done in curriculum and place developmentally and historically, highlighting major studies that exist in the area. A discussion of the future of what is called place studies in curriculum is the final area including highlights of the newest scholarship alongside a discussion of the movement toward the parameters of place globally. Beyond the parameters of this article, but significant in the study of place, are the treatments of place in literature, film, and television series; a small discussion of these areas is included.

Mad Men

2020 ◽  
Author(s):  
Gary Edgerton
Keyword(s):  
Word Of Mouth ◽  
Satellite Network ◽  
Arts And Sciences ◽  
Cable Channel ◽  
Digital Devices ◽  
Film And Television ◽  
Cultural Phenomenon ◽  
Mad Men ◽  
The Sopranos ◽  
Online Streaming

Once or twice a decade, a new television program comes along to capture and express the zeitgeist. Mad Men (2007–2015) was that show in the late 2000s and early 2010s. Soon after premiering on the 19 July 2007 on AMC (formerly American Movie Classics from 1984 to 2003), Mad Men evolved from being that little program that nobody watched on an also-ran basic cable channel to the most celebrated scripted drama of its era. Mad Men set the creative standard for dramatic series over the span of its initial run. It was recognized by the Hollywood Foreign Press Association as the Best Television Drama of 2007, 2008, and 2009; the British Academy of Film and Television as Best International Show of 2009 and 2010; and the National Academy of Television Arts and Sciences as the Outstanding Drama Series of 2008, 2009, 2010, and 2011, being the first basic cable series ever to win this award. Overall, Mad Men won five Golden Globes, sixteen Emmys, and fifty other major awards, including honors from all of the major Hollywood guilds, as well as receiving a prestigious George Foster Peabody Award for excellence in broadcasting. In retrospect, AMC executives adopted what they referred to as “the HBO formula” of developing their own edgy, sophisticated, passion project by a proven writer-producer, Matthew Weiner, who just happened to have a pedigree that included The Sopranos (HBO, 1999–2007). What resulted was the gradual emergence of Mad Men as AMC’s first original hit series, generating unprecedented word-of-mouth, and rebranding the channel as a hipper, more discriminating, alternative cable-and-satellite network. In turn, Mad Men broke the glass ceiling for basic cable in much the same way that The Sopranos had done for pay TV some eight-and-a-half years earlier. Mad Men also benefited greatly from the emergence of multiplatform reception. Even though Mad Men’s impact on AMC was immediate and transformative, the show was at first more a cultural phenomenon than a breakout hit. Nevertheless, its first-season audience average of 900,000 on AMC in 2007 eventually grew to 2.5 million by Season 6. Moreover, Mad Men’s total viewership relied heavily on syndication, DVDs, and streaming to digital devices, translating into an estimated 30 million unduplicated viewers per episode in North America alone. By the time of its finale on 17 May 2015, Mad Men was being syndicated in over fifty countries and was available 24/7 through online streaming globally.

scholarly journals Bruce Lee as gladiator: Celebrity, vernacular stoicism and cinema

2019 ◽  
Vol 4 (3) ◽  
pp. 348-361
Author(s):  
Lindsay Steenberg
Keyword(s):  
Popular Culture ◽  
Television Series ◽  
Body Type ◽  
Film And Television ◽  
The Third ◽  
Bruce Lee ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Relationship ◽  
Opening Up

This article situates Bruce Lee’s films and star persona in the context of wider patterns in global genre cinema of the 1960s and 1970s. I argue for a connection between the Western reception of Lee’s films and those of the mid-century Italian sword and sandal films, beginning with the Colosseum fight between Bruce Lee and Chuck Norris that concludes Way of the Dragon (1972). From the dojo fights of Fist of Fury (1972), through the tournament structure in Enter the Dragon (1973), to his statistically led re-animation in the EA Sports UFC 3 (2018) videogame, Bruce Lee can be usefully considered as a gladiator. Bruce Lee, as fighter, performer and star persona, contributes to the enduring gladiatorial archetype that is an embedded feature in the Western visual imaginary. Furthermore, I argue that the gladiator archetype itself shifted because of Lee’s onscreen roles and the discourse that surrounds his star persona. In order to map these shifts and patterns of confluence, I chart three main points of impact that Lee has had on the gladiatorial archetype using his Western-facing roles on film and television, namely the television series Longstreet (1971–1972) and Enter the Dragon (1973). First, I consider the inclusion of martial arts and, second, the opening up of the field of representation to different models of masculinity, including a leaner body type and a non-White – in this case, ethnically Chinese – gladiator. The third point is the emphasis on a popular, or vernacular, stoicism. Ultimately, I elucidate the relationship between the gladiator, Bruce Lee, and philosophy, arguing that Lee embodies a vernacular stoicism that has become one of the defining features of the post-millennial gladiator and notions of heroic masculinity in popular culture more widely.

Catching up with our Nordic peers: The rising demand for Finnish drama series and its impact on local film and television production companies

2020 ◽  
Vol 10 (2) ◽  
pp. 101-119 ◽  
Author(s):  
Heidi Grundström ◽  
Jose Juan Cañas Bajo ◽  
Ilkka Matila
Keyword(s):  
Local Distribution ◽  
Television Series ◽  
Economic Stability ◽  
Television Industry ◽  
Television Production ◽  
Film And Television ◽  
The Past ◽  
Catching Up ◽  
Feature Films ◽  
Media Reports

Traditionally, the Finnish film and television industry has revolved around producing feature films and television series for local distribution. In the past five years, however, the industry has been transformed by a rising demand for high-end drama series. In addition to the positive developments for the economic stability of production companies, challenges are unfolding as the demand for new content keeps growing. This article introduces three recent and central developments, drawing on interviews with four local producers and an analysis of industry and media reports. First, new players have entered the market and introduced new financing opportunities, both domestic and international. Second, international co-production opportunities have grown through production companies’ new international focus. And finally, the introduction of the Finnish production incentive for the audio-visual industry has enabled more ambitious projects. These developments have led to two main challenges that the industry is currently facing: the imminent lack of experienced crew and the need for revised practices for screenwriting, development and production.

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