The “Turn” in Canadian Television StudiesOutside Looking In: Viewing First Nations Peoples in Canadian Dramatic Television Series. By Mary Jane Miller. Montreal: McGill-Queen’s University Press, 2008. 494 pp. $85.00 (cloth) ISBN 978-0-7735-3366-0. $32.95 (paper) ISBN 9780-7735-3367-7.Programming Reality: Perspectives on English-Canadian Television. Ed. ZoëDruick and Aspa Kotsopoulos. Waterloo: Wilfrid Laurier University Press, 2008. 354 pp. $34.95 (paper) ISBN 978-1-55458-010-1.Rain/Drizzle/Fog: Film and Television in Atlantic Canada. Ed. Darrell Varga. Calgary: University of Calgary Press, 2009. 318 pp. $34.95 (paper) ISBN 978-155238-248-6.

In the summer of 1954 a small group of scholars met at the University of Manitoba and founded the Canadian Linguistic Association. Among us were Henry Alexander of Queen’s University, J. B. Rudnyckyj of Manitoba, W. S. Avis of R.M.C., G. Dulong of Laval, and J.-P. Vinay of Montreal.My association and friendship with them all began at that time, and in particular I formed a close personal and academic relationship with Wally Avis.Thanks to the support of Wilfred Wees, who has done more than any other Canadian publisher to support studies in Canadian English, Dr. Avis, Dr. R. J. Gregg of British Columbia, and I began work on a series of dictionaries, culminating in 1967 with the publication of the Dictionary of Canadianisms, of which Dr. Avis was editor-in-chief. During the preparation of that work, Dr. Avis and I became close friends. In 1963, he spent a full year at the University of Calgary, and in 1965 he was able to devote the entire summer to editorial work at the University of Victoria.

Download Full-text

Introduction: Transmedia Practices: A Television Branding Revolution

Networking Knowledge: Journal of the MeCCSA Postgraduate Network ◽

10.31165/nk.2014.71.326 ◽

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.

Download Full-text

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

American Journal of Business Education (AJBE) ◽

10.19030/ajbe.v2i8.4597 ◽

2009 ◽

Vol 2 (8) ◽

pp. 37-50 ◽

Cited By ~ 1

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.

Download Full-text

Curriculum and Place

Oxford Research Encyclopedia of Education ◽

10.1093/acrefore/9780190264093.013.122 ◽

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.

Download Full-text

Regional Scenes and Canadian Screens

The Oxford Handbook of Canadian Cinema ◽

10.1093/oxfordhb/9780190229108.013.11 ◽

2019 ◽

pp. 184-200

Author(s):

Darrell Varga

Keyword(s):

Cultural Context ◽

Atlantic Canada ◽

Aesthetic Design ◽

Television Production ◽

Film And Television ◽

The World ◽

Iconic Status

This chapter situates the conditions of production, funding, and labor in Atlantic Canada along with the representations of culture and work (or the lack of work) on screen through an analysis of selected films notable either for their iconic status within the regional film scene or as vehicles through which the condition of labor and culture can be explored and illuminated. Film and television production in Atlantic Canada is a case study of what Toby Miller et al. have described as Global Hollywood (2008). Under this model, production is understood not by aesthetic design or cultural context but rather by the existence of subsidies and incentives developed in competition with other regions in Canada and throughout the world for the business of Hollywood. The films that are produced generally reflect the dominant ideological tendencies of Hollywood, though films may also express the potential for resistance—even if only partially articulated.

Download Full-text

Bruce Lee as gladiator: Celebrity, vernacular stoicism and cinema

Global Media and China ◽

10.1177/2059436419874625 ◽

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.

Download Full-text