scholarly journals Researching Janet Dean

2021 ◽  
pp. 205-212
Author(s):  
Christina Lane
Keyword(s):  
Social Issues ◽  
Historical Narratives ◽  
Television Series ◽  
Television Production ◽  
Star Power ◽  
American Television ◽  
Hollywood Films ◽  
Growing Medium ◽  
Film Producer ◽  
Production Practices

The 1954 American television series Janet Dean, Registered Nurse (1954–1955) capitalised on the star power of its lead Ella Raines, business heft of CBS executive William Dozier, and cache of film producer Joan Harrison. Though a brainchild of Raines’, the series relied heavily on Harrison’s decades of nuts-and-bolts experience producing Hollywood films. It became a vehicle for both women to pool their creative talents, advance a growing medium, and comment on contemporary social issues. This contribution to the dossier considers the methodological challenges posed by analysing this instance of female collaboration in 1950s television production. It represents an effort to excavate undocumented production practices and women’s creativity, while decentring prevailing historical narratives surrounding the “great genius” male executive.

scholarly journals When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

2021 ◽  
pp. 205-252
Author(s):  
Marta Dynel
Keyword(s):  
Philosophy Of Language ◽  
Television Series ◽  
Fictional World ◽  
Extant Literature ◽  
Multimodal Analysis ◽  
American Television ◽  
Theoretical Account ◽  
The Status ◽  
The One ◽  
Withholding Information

AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.

scholarly journals TRABALHADORAS DO SEXO NA SÉRIE DA HBO, O NEGÓCIO: Representações e a Prostituição de Luxo

2017 ◽  
Vol 3 (3) ◽  
pp. 506
Author(s):  
Plábio Marcos Martins Desidério ◽  
Lailson Duarte
Keyword(s):  
Social Practice ◽  
Social Representations ◽  
Television Series ◽  
Television Production ◽  
Palabras Clave ◽  
The Many

Neste trabalho buscamos compreender as representações da prostituição de luxo, a partir de uma produção televisiva: a série O Negócio, produzida pela HBO. Esta série suscita questões sobre as trabalhadoras do sexo, e, portanto, buscamos analisar alguns discursos e representações dessas mulheres como garotas de programa numa série de televisão. Muitas dessas representações quando se referem a prostituição de luxo procuram evidenciar uma dimensão lúdica, hedonista, sofisticada e consumista, sem, no entanto, questionar as muitas questões que cercam essa prática social. PALAVRA-CHAVE: Série O Negócio; trabalhadoras do sexo;, representações sociais. ABSTRACT In this work we seek to understand the representations of luxury prostitution, from a television production: the series O Negócio, produced by HBO. This series raises questions about prostitute, and therefore we will try to analyze some discourses and representations of these women as program girls in a television series. Many of these representations when referring to luxury prostitution seek to demonstrate a ludic, hedonistic, sophisticated and consumerist dimension, without, however, questioning the many issues surrounding this social practice. KEYWORDS: Series O Negócio; prostitute; social representations. RESUMEN En este trabajo tratamos de entender las representaciones de la prostitución de lujo, de una producción televisiva: la serie O Negócio, producida por HBO. Esta serie plantea preguntas acerca de los profesionales del sexo, y por lo tanto tratar de analizar algunos discursos y representaciones de estas mujeres como prostitutas en una serie de televisión. Muchas de estas representaciones, ya que se relacionan con la prostitución de lujo tratan de mostrar una dimensión lúdica y hedonista, consumista y sofisticado, sin embargo, interrogando a los muchos problemas que rodean esta práctica social. PALABRAS CLAVE: La serie O Negócio; profesionales del sexo; las representaciones sociales.

scholarly journals Goodwill and System Dynamics Modeling for Film Investment Decision by Interactive Efforts

2018 ◽  
Vol 2018 ◽  
pp. 1-10
Author(s):  
Jian Feng ◽  
Bin Liu
Keyword(s):  
Simulation Analysis ◽  
Investment Decision ◽  
Market Performance ◽  
Academic Research ◽  
Dynamics Modeling ◽  
Star Power ◽  
Box Office ◽  
Film Producer ◽  
The Cost ◽  
Film Making

Academic research pertaining to the marketing of film industry has identified advertising, film-making, and star power as the important factors influencing a movie’s market performance. Prior research, however, has not investigated the joint influences of these factors. The current study has extended previous research by analyzing the investment decision of studios or investors. In order to analyze the optimal film investment decision in advertising, film-making, and stars power, this paper develops a goodwill model and system dynamic (SD) model, which allow us to disentangle the effects of advertising, film-making, and star power on film market performance. The results show that the film producer should increasingly lay emphasis on investing in advertising to absorb moviegoers’ attention. Then the film producer should focus on investing in film-making when film quality has a great impact on the movie's reputation and audience's viewing decision. Furthermore, the film producer should pay more attention to the higher cost-performance stars who have more reasonable remuneration, better acting skills, and bigger box-office guarantee. Moreover, the numerical analysis reveals that rational audience contribute more than fans to a movie's box-office and bankable stars contribute more than high-profile stars to a movie's returns. Through SD simulation analysis, the film series yields higher profits than new theme movies although the cost of investment is the same.

Killing Two Birds with One Deceit

2016 ◽  
Vol 8 (2) ◽  
pp. 179-218 ◽  
Author(s):  
Marta Dynel
Keyword(s):  
Real Life ◽  
Television Series ◽  
American Television ◽  
Speaker Meaning ◽  
Complex Mechanisms

This paper explores the workings of deception performed in multi-party interactions, a topic hitherto hardly ever examined by deception philosophers. Deception is here discussed in the light of a neo-Goffmanian classification of (un)ratified hearers and a neo-Gricean version of speaker meaning, anchored in non-reflexive intentionality and accountability, which is shown to operate beyond the speaker-hearer dyad. An utterance, it is argued, may carry different meanings, judged according to their (lack of) intentionality and (non)deceptiveness, towards the individuals performing different hearer roles. The complex mechanisms of deception with regard to different hearers are illustrated with examples culled from the American television series “House.” Deception in fictional interactions is illustrative of real-life manifestations of deception, yet it brings into focus also those rare ones, which are in the centre of philosophical attention.

Site-specific television as urban renewal: Or, how Portland became Portlandia

2017 ◽  
Vol 21 (1) ◽  
pp. 42-56 ◽  
Author(s):  
Helen Morgan Parmett
Keyword(s):  
Urban Renewal ◽  
Urban Regeneration ◽  
Cultural Changes ◽  
Television Industry ◽  
Site Specific ◽  
Television Production ◽  
Local Alternative ◽  
Production Practices ◽  
The City

This article addresses the rise of what I call ‘site-specific television’, where the dispersion of television production outside traditional centers results in shooting locations that also serve as the crux of the televisual narrative. I argue that site-specific television constitutes ‘TV renewal’, in which on-location shooting practices are constitutive of urban regeneration efforts that draw on local, alternative, and creative cultures of production to help promote, rebrand, and revitalize marginalized city spaces with, often, gentrifying implications. Taking up Portlandia as a case study of site-specific television, I argue its on-location production practices depend on decentralized and embedded practices of production that align with recent economic and cultural changes in the television industry and in the city.

scholarly journals What’s the value of a star? Actor familiarity and likeability effects on emotional mimicry of cinematic displays

2019 ◽  
Vol 7 (1) ◽  
pp. 4-16
Author(s):  
Elen Lotman ◽  
Alan Voodla ◽  
Andero Uusberg
Keyword(s):  
Film Industry ◽  
Meta Analysis ◽  
Movie Industry ◽  
Star Power ◽  
Hollywood Films ◽  
Hollywood Movie

AbstractResearchers and practitioners have long been intrigued by the role of stars in the film industry (McDonald 2005). Actors with star status can enhance the economic prospects of a film (Wallace et al. 1993). For instance, replacing average stars with top stars has been shown to increase revenue (Nelson, Glotfelty 2012). A meta-analysis of 61 studies collating data from 1545 films has shown the significant effect of commercial star power on Hollywood films’ revenues (Hofmann, et al. 2017). The Hollywood movie industry can be viewed as a system that maintains and regulates the popularity of existing and emerging stars through agents, producers and award systems (McDonald 2013).

Maria Hirszbein: An (In)visible Figure of Polish Cinema of the 1920s and 1930s

2021 ◽  
Vol 36 (3) ◽  
pp. 61-83
Author(s):  
Małgorzata Radkiewicz
Keyword(s):  
Jewish History ◽  
New Woman ◽  
Social Issues ◽  
Modern Idea ◽  
Work Style ◽  
Film Producer ◽  
Innovative Work ◽  
Film Reviews ◽  
Different Sources ◽  
Successful Manager

Abstract This article examines the career of the Polish film producer Maria Hirszbein (1889–1939/1942) in relation to the development of interwar Polish cinema, including Yiddish films, and the modern idea of a “New Woman.” Investigating Hirszbein's activities as the successful manager of her company, Leo-Film, and as cofounder and member of the Polish film producers’ unions, the article explores her professional accomplishments and innovative work style, which was based on teamwork and promoting young, talented actors, creative directors, and screenwriters sensitive to social issues. In reconstructing Hirszbein's professional biography, the text combines different sources such as press reports, film reviews, photographs from the collection of the Polish National Film Archive (FINA), and data collected by the Institute of Jewish History in Warsaw.

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