The Problems of Media Strategy Transformation of Russian Regional Television Broadcasting Companies in the Context of the Crisis of Traditional Media

The article deals with the problems faced by the regional television market in the context of the growing popularity of new media and the transition of Russia to a digital broadcasting format. Regional and municipal television broadcasting, having lost traditional platforms for promoting their content, faced the necessity to develop new platforms in a short time. The new media environment required regional TV companies to review the promotion concepts. The author of the article is the developer of one of such concepts of rebranding and relaunching a regional television studio in a new format, and, based on practical experience, analyzes the factors and difficulties of transformation of media strategies of regional TV companies. Five blocks of problems were identified as a result of testing of the concept of a new regional broadcasting. They include: project management, its staffing and financial support, analysis and interpretation of modern media measurements, transition to new video content formats adapted to digital platforms.

Interdisciplinary Collaboration Between Veterinary and Communication Students to Promote Communication Skills: A Qualitative Pilot Study

Interdisciplinary collaborations are increasingly gaining popularity, as are active in higher education and innovative learning strategies. However, relatively little research has been performed related to interdisciplinary learning methodologies in higher education. In the present work, a pilot activity between communication and veterinary students was performed, consisting in performance of mock interviews at a professional television studio. Besides some drawbacks such as low participation rates by veterinary students, the activity was associated with a number of benefits, including enhanced acquirement of communication skills, greater topic-related knowledge assimilation, and reinforced practical application of the theoretical concepts.

Samuel Beckett and Intermedial Performance

This article analyses two intermedial adaptations of works by Beckett for performance in relation to Ágnes Pethő’s definition of intermediality as a border zone or passageway between media, grounded in the “inter-sensuality of perception.” After a discussion of how Beckett’s own practice might be seen as intermedial, the essay analyses the 1996 American Repertory Company programme Beckett Trio, a staging of three of Beckett’s television plays which incorporated live camera projected onto a large screen in a television studio. The second case study analyses Company SJ’s 2014 stage adaptation of a selection of Beckett’s prose texts, Fizzles, in a site-specific, historical location in inner city Dublin, which incorporated projected sequences previously filmed in a different location, a former power station.

Peripheral news workers expelled to the periphery: The case of camera reporters

The professionals behind television cameras are peripheral contributors to journalism who are often overlooked in journalistic research in contrast with co-workers who occupy clearly demarcated journalistic roles. In this article, we use the term camera reporters rather than the more frequently used terms such as cameramen or camera operators as we argue that these professionals are part of the journalistic field and their job titles in themselves question their belonging to this field. The aim of our article is to focus on the role of camera reporters as peripheral actors in the news production process – in this respect we address their journalistic culture, identity, autonomy and practice – and to understand their role not only in the context of boundary work within journalism but perhaps even more importantly in relation to changes brought about by the move of a television studio from the city centre to a residential suburb. The relocation provides a rare opportunity to study camera reporters in their work places and spaces at a time of disruption and adjustment. Our case study is based in a Czech television studio where we have conducted interviews with camera reporters and news reporters. Our findings are in line with other research on peripheral news workers and illustrate complex issues in the professional standing of camera reporters.

Machine Bodies: Performing Abstraction and Brazilian Art

In 1973, Analívia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.

The performance of power and citizenship: David Cameron meets the people

How do citizens respond to and engage with the performance of political power in the context of mainstream media? Through an analysis of two television programmes aired during the UK Brexit referendum campaign of 2016, a picture emerges of citizenship as the performative disruption of the performance of power. In the programmes the then UK prime minister, David Cameron, met members of the public for a mediated discussion of key issues in the Brexit referendum. Their interactions are analysed here as a confrontation between the performance of citizenship and power reflecting activist modalities of disruptive citizenship played out in the television studio. The article ends with reflections on questions about political agency as individualistic forms of disruptive political autonomy.

Scaling down in early studio realism

Though still commonly referred to as the ‘early’ era of television, by 1953 it was possible for actors working in the medium to have acquired over a decade of experience. The Quatermass Experiment features a cast taken from a variety of backgrounds, with differing amounts of television experience. The ways in which this informs performance style are examined alongside the exigencies of live multi-camera television studio production, which required the continuity to which actors versed in theatre would be accustomed, while imposing severe technological limitations on freedom of movement and the need for physical and vocal projection. The extent to which the nascent studio realism of Quatermass was representative of its time is examined via Viewer Research Reports and contemporary press reviews, which already reveal a notable divergence of opinion with regard to what was acceptably verisimilitudinous in television acting.