E-Learning vs. T-Learning

This chapter intends to explore distance learning today both in the television medium and in the online one, acknowledging that during these early decades of the 21st century multiple and diverse remote learning opportunities have arisen given the permanent technological evolution and of societies. In order to present this actual circumstance, focused analysis of both media is developed pointing out each main key characteristic, benefits, and disadvantages, examining the existence and reliability of each respective means of assessment.

Figures of Transgression in Representations of the First World War on British Television

This chapter explores British televisual representations of transgression in the First World War from the 1960s to the centenary period (2014-18). It examines the ways in which the television medium has mediated public discourse about the historical and historiographical meanings of war and identity during and after the conflict of 1914-18 by focusing on the ways in which figures of transgression such as mutineers, conscientious objectors, and deserters have been used to subvert normative narratives of the Great War. The chapter considers how the deployment of historical transgression has enabled critical reflections of contemporary political and social discourses. It demonstrates how and why the intersection of the commemorative impulse in televisual representations of war encourages reflection on and negotiation of positions within and outside of more reassuring cultural narratives about the conflict, within institutional and governmental contexts for production and reception, and how they have shifted over time. This chapter concludes that such figures provide uncomfortable counter-narratives but that these are ultimately deployed to reinforce dominant ideas about the conflict.

«Noi non riprendiamo la realtà: la inventiamo»: Eugenio Carmi

In the late 1960s, at the invitation of Umberto Eco, Eugenio Carmi began to collaborate with Servizio Programmi Sperimentali in Rai. After some research on perception, the artist proposed an actual “transgression” for the use of television medium: using cameras not to film the reality, but to create a completely abstract color video work. From an exchange with Rai technicians, the idea was born to use in an artistic way the disturbance generated when you point a video camera at its own playback video monitor. Thus began the first Italian videoart experiments of so-called “feedback” process, to get between 1972 and 1974 to the documentary Arte elettronica, arte della luce and the video work C’era una volta un re, and then, in 1977, the animated fairy tale Olivo verde vivo created by the painter’s daughters Antonia and Francesca Carmi with Giulio Masoni.

I “Concetti spaziali per televisione” di Lucio Fontana: dalle proposte del Manifiesto Blanco ai primi ambienti

This essay investigates Lucio Fontana’s “Luminous Images in Movement”, realized by the artist in 1952, when the Manifesto of the Spatial Movement for Television was published. Analyzing little-known and new documents and re-examining the historical and artistic context in which they were born, the essay proposes a re-reading of these researches highlighting their environmental dimension. A case in point within a “pre-history” of the relationship between art and television, Fontana’s interest in the new television medium is thus included in the original path that from the Manifiesto Blanco leads the artist to the creation of his first pioneering “environments”.

Digital culture and communication: HbbTV or the new interactive culture

The television medium has traditionally been the revenue engine for the advertising sector, and the way to build audio-visual culture. The emergence of hybrid television, led by the HbbTV standard, is generating a scenario of increasing interactivity and customization. This research tries to detect the main motivating factors and future trends in the relationship between television and interactive advertising, in a new interactive communication scenario. Methodologically, the qualitative technique of Delphi is used, the most advisable in prospective approaches to incipient objects of study. The consolidation of smart TV on demand, the lower relevance of television in classical terms as a basic medium for advertising but greater with interactivity, the growth of branded content and the adaptation of the message to the medium are concluded.

Consuming Representations of Korean TV Dramas among Indonesian Muslim Youth

<p><em><span>This article dealt with Korean TV dramas consumption among Muslim youth in Pekanbaru. It aimed to undestand their interpretations on the television dramas. The values of being a Muslim was constantly under scrutiny by the image representation in Korean TV Dramas. As transnational cultural products, they were considered as reducing Islamic values for Muslim youth. Using ethnographic study, forty two informants were selected based on a purposive sampling technique in which they loved on consuming Korean TV dramas. This article found that Muslim youth were active audiences consuming and interpreting Korean TV dramas. This can be seen from two characteristics. The first is that Muslim youth consumption of Korean TV dramas was not dominantly done through television medium, but through their lapptop. As a result, their position as an active audiences or viewers was obvious. This was because the dramas to be watched were not interrupted by some advertisements. The audiences could also actively watch them without depending on the schedule decided by television stations. The second is that young Muslims watching Korean TV dramas did not accept some representations contradictory with their Islamic identity. However, some of Korean TV dramas were accepted due to their proximity with Islamic values.</span></em></p>

Family Concerns inThe Vampire Diaries

This paper examines the TV series The Vampire Diaries to show how the programme responds to traditional gothic tropes and transforms them for the television medium. Vampires and humans shall be read as both preoccupied with the ties of family, in story arcs that explore complex and often dark familial relationships. Especially in the early seasons of the series, objects such as magic rings, compasses, precious stones and magical devices are given fundamental importance for the development of the plot, the interactions among the characters, and the representation of familial bonds. Specifically, the search for and retrieval of the heirlooms shall be interpreted as instrumental to the representation of the characters’ relationships with their respective families, which I argue is a characteristic theme of gothic fictions at large.

The Open BoxAchille Castiglioni and the Architecture of Television

This chapter explores the exhibition design and architecture that Achille Castiglioni completed in the 1950s and 1960s for the Italian television network RAI. The author demonstrates how these projects adumbrate the elements of a design culture uniquely suited to the speed and rapid change of the television medium. She explicates the work of Castiglioni in relation to the contemporaneous discussion of media by semiotician Umberto Eco. Castiglioni’s television sets were just some of the many objects he designed to fill a well-appointed interior. Yet his way of working and thinking about design in the era of information also laid the foundation for developing a radically social and participatory understanding of the end user, one that ultimately made it possible to assign architecture new forms of value, even in the context of consumer society. The most acute transformations to architecture in the era of television did not result in a reconfigured window or facilitate the domestication of a new optical toy replete with reality effects, although both of those things certainly took place. Instead, television triggered a wave of thinking about the emergence of a communications environment that recalibrated the speed, recalculated the membership, and redefined the “nature” of architecture as a world space and an open work.

Performing television history

An expanded conception of performance study can disturb current theoretical and historical assumptions about television’s medial identity. The article considers how to write histories of the dominant forms and assumptions about performance in British and American television drama and analyses how acting is situated in relation to the multiple meaning-making components of television. A longitudinal, wide-ranging analysis is briefly sketched to show that the concept of performance, from acting to the display of television’s mediating capability, can extend to the analysis of how the television medium ‘performed’ its own identity to shape its distinctiveness in specific historical circumstances.