Film and television studies

The paper provides an overview of the digital terrestrial TV in 11 selected EU countries with different number of TV channels available in the terrestrial networks. The idea is to discuss the reasons for these differences and the parameters that affect the number of TV channels/services in different countries. The paper discusses to what extent economic, social and political interests, framing the analogue era, continue to influence the organizational and institutional set-up when switching to digital TV. From a purely technological point of view, one would expect that the number of TV channels made available in the different countries with given spectrum resources would vary only a little taking cross-border frequency interference into consideration. In fact, there are large differences between the various countries, which can be explained by the differences in economic, social and political interests and a certain degree of pathdependence in the organizational and institutional set-up in the different countries.

This essay explores how mass media function as vehicles for disseminating dominant ideologies related to gender, sexuality, race, and class. Drawing on theoretical frameworks by Gramsci, Althusser, Hall, and the Frankfurt School, it analyzes how media shape cultural norms and reinforce social hierarchies through ideological representation. Empirical studies reveal consistent patterns of underrepresentation and stereotyping—particularly of marginalized groups such as Black women, Asian men, and LGBTQ+ individuals—highlighting how race and gender intersect in media portrayals. At the same time, the paper acknowledges the active role of audiences, as theorized by Hall's encoding/decoding model and Katz’s Uses and Gratifications theory, in interpreting and resisting dominant narratives. The analysis concludes that while mass media often reinforce social inequalities, they also offer limited opportunities for alternative perspectives to emerge, particularly through digital and social media platforms. Greater media literacy and diversified representation are essential for challenging ideological bias and promoting social equity.

Intermedia in Italy: From Futurism to Digital Convergence analyzes a century of Italian intermedial experimentation, mapping the evolution of artistic practices from futurism to contemporary digital convergence. The survey adopts a dual methodological approach that integrates comparative analysis of mutual influences between artistic forms with a theoretical reflection on the role of intermediality in redefining critical paradigms. The chronological-thematic structure articulates the Italian intermedial evolution through seven key moments - revolution (1915), Gesamtkunstwerk (1932), experiment (1963), collapse (1972), hybridity (1994), convergence (2007) and contagion (2020) - identifying significant historical nodes and synthesizing concepts. His “in-between” methodological approach privileges non-linear readings that reject hierarchical interpretations and promote interpretive sharing. Overall, the contribution offers an essential methodological tool for contemporary arts and media studies, opening up questions about the fashions

From innocent criminals to radical revolutionaries, feisty feminists to manly pioneers, egalitarian settlers to violent invaders, Caught on Screen shows how over successive generations the shape-shifting convict emerged on screen as a potent historical symbol.

Convicts loom large in Australian history. As transported criminals and the first European settlers, they have shackled the nation to a curious and contested origin story. Historians were largely silent on their exploits until the second half of the twentieth century, but before then a tradition of convict representation on screen appeared with the rise of cinema, taking hold of the popular imagination. From silent films to more recent television series, screen culture has elevated the convict experience to become a key historical narrative through which filmmakers and audiences have repeatedly reframed and challenged an understanding of Australia's colonial past. Caught on Screen traverses this history of convict representation for the first time.

Through detailed archival research into their production and reception, the book explores engaging case studies produced in Australia and internationally, including the work of Douglas Sirk, Alfred Hitchcock and Jennifer Kent. It illuminates the fact that the convict as historical symbol is one that intersected with, and helped to direct, major debates about nationalism, the legacies of colonisation, Aboriginal dispossession and the origins and character of Australian society.

Esta investigación analiza la serie de ficción histórica Inés del alma mía (Prime Video, 2020), una coproducción hispano-chilena que adapta la novela de Isabel Allende e interpela a la conquista española de Chile, lo que concita la representación de un periodo histórico que alude a varias nacionalidades. Este estudio de caso posee interés por ser una coproducción de ambos países y por la Historia que representa, un momento simbólico, fundacional y controvertido por el debate sobre la memoria. Se realiza un análisis textual de la serie para observar el texto audiovisual e indagar cómo se construye, para lo que se entrevista a Nicolás Acuña, uno de sus directores. Inés del alma mía propone una nueva configuración del mito de la Conquista de Chile a partir de un biopic dramático de Inés de Suárez. Esta propuesta actualiza la temática histórica desde el desarrollo de una figura femenina, real y relevante, a la que se atribuye un papel clave en la fundación del país, por ser la primera mujer española que pisó Chile y por desempeñar un rol esencial en la expedición, colonización y poblamiento del espacio andino.

Chitrangada, written by Rabindranath Tagore in 1892 and translated in English in 2013 by Utpal K. Banerjee, is a major work; the original story of the play has been taken from the great Sanskrit epic, The Mahabharata. Tagore's dance-drama ends on a positive note, but in The Mahabharata, Chitrangada ends up as a tragic character, caught in a 'spaceless' predicament after Arjuna's departure. In the present paper, the author tries to investigate and show the gender ambiguities of Chitrangada by analyzing how she switches from the space of a 'male' to that of a 'female'. In the present paper, the author has employed qualitative approach to undertake the study with help of certain primary and secondary sources.

Cersei Lannister a Eddard Stark (Game of Thrones 1.07) Sono passati più di cinque anni da quando la HBO mandò in onda (il 17 aprile 2011) il primo episodio di una nuova serie fantasy tratta da una celebre saga firmata da George R. R. Martin (la prima della sua storia, anche se un paio di anni prima aveva aperto le porte ad un genere affine con True Blood, anche questo tratto da una serie di volumi di successo) affidando la direzione del progetto a David Benioff e D.B. Weiss 1 . Erano * Questo contributo è stato steso per la prima volta sotto forma di conferenza nell'ambito delle attività del Premio Mattador nell'ottobre del 2014 e successivamente revisionato fino al giugno 2015. Alcuni dei contenuti sono rimasti invariati, ma almeno parte delle riflessioni in esso contenute sono state ispirate e condizionate proprio dall'acceso dibattito che ha circondato l'ultima stagione nel corso della messa in onda e che ha mostrato, almeno a chi scrive, come la critica televisiva e letteraria possa diventare per gli appassionati un argomento avvincente e divisivo quanto la finale di un mondiale di calcio. 1 Già prima dell'inizio della serie Benioff era uno sceneggiatore di solida reputazione cinematografica (suoi gli script, tra gli altri, de La venticinquesima ora, Troy, Il cacciatore di aquiloni e X Men Le origini Wolverine) oltre che romanziere. Lui e Game of Thrones/ Game of stories: Le sfide narrative e produttive di un adattamento fantasy in tv* laura cotta ramosino

Cersei Lannister a Eddard Stark (Game of Thrones 1.07) Sono passati più di cinque anni da quando la HBO mandò in onda (il 17 aprile 2011) il primo episodio di una nuova serie fantasy tratta da una celebre saga firmata da George R. R. Martin (la prima della sua storia, anche se un paio di anni prima aveva aperto le porte ad un genere affine con True Blood, anche questo tratto da una serie di volumi di successo) affidando la direzione del progetto a David Benioff e D.B. Weiss 1 . Erano * Questo contributo è stato steso per la prima volta sotto forma di conferenza nell'ambito delle attività del Premio Mattador nell'ottobre del 2014 e successivamente revisionato fino al giugno 2015. Alcuni dei contenuti sono rimasti invariati, ma almeno parte delle riflessioni in esso contenute sono state ispirate e condizionate proprio dall'acceso dibattito che ha circondato l'ultima stagione nel corso della messa in onda e che ha mostrato, almeno a chi scrive, come la critica televisiva e letteraria possa diventare per gli appassionati un argomento avvincente e divisivo quanto la finale di un mondiale di calcio. 1 Già prima dell'inizio della serie Benioff era uno sceneggiatore di solida reputazione cinematografica (suoi gli script, tra gli altri, de La venticinquesima ora, Troy, Il cacciatore di aquiloni e X Men Le origini Wolverine) oltre che romanziere. Lui e Game of Thrones/ Game of stories: Le sfide narrative e produttive di un adattamento fantasy in tv* laura cotta ramosino

Analisa dan evaluasi deteksi kebohongan merupakan studi yang sangat penting dalam bidang psikologi. Kebohongan dideteksi dengan melihat perubahan emosi yang terjadi pada diri seseorang, kemunculan emosi negatif seperti emosi khawatir dapat dijadikan acuan untuk memperkirakan kebohongan. Salah satu pendekatan yang sering digunakan oleh para psikolog untuk membaca perubahan emosi dengan bahasa non verbal (gesture) pada ekspresi wajah. Pada penelitian ini dihitung probabilitas kebohongan seseorang berdasarkan kemunculan beberapa gesture pada wajah diantaranya, menghindari kontak mata, Pengecilan atau dilatasi pupil, bloking mata, senyum palsu, kerutan pada hidung atau dahi, alis dalam dan luar terangkat. Rekaman video adegan pelaku dengan status bohong atau jujur yang sudah diketahui, terlebih dahulu diamati kemudian diidentifikasi frekwensi kejadian setiap gesture tersebut untuk membentuk dataset training. Selanjutnya dataset tersebut dijadikan dasar untuk melakukan penilaian untuk menentukan level kebohongan pelaku pada rekaman. Untuk menghitung probabilitas jujur atau bohong digunakan pendekatan naïve bayesian. Pendekatan penilaian kebohongan dengan naïve Bayesian tepat untuk mengatasi masalah yang temui pada deteksi kebohongan. Terdapat banyak gejala yang merupakan indikasi kebohongan, namun sejauh ini setiap gejala non verbal bersifat berdiri sendiri, belum diketahui hubungan antara satu gejala dengan gejala yang lain dan gejala ini tidak pasti kemunculan dalam setiap kasus kebohongan. Hal ini menyebabkan ketidak pastian untuk menyusun Base rule secara lengkap dan pasti. Pendekatan Naïve Bayesian memungkinkan memberi solusi atas masalah ini secara tepat, dengan melihat probabilitas setiap gejala non verbal, maka probabilias kebohongan bisa ditentukan secara pasti.

This interdisciplinary special issue explores the synergy between psychotherapy and filmmaking-particularly how film can serve as a powerful healing function by bringing voice, representation, and light to the all-too-often overlooked and shadowed aspects of psychological and cultural life, similar to the work of psychotherapy. To understand the culturally therapeutic aspects of filmmaking, this issue features psychological and cinematic insights from two fields of experts and their crafts: scholars and their writing and filmmakers and their films. The unique approach of this special issue provides new possibilities for interdisciplinary collaboration between psychologists and filmmakers to explore the therapeutic function of film for society as well as avenues for film to address, heal, and transform the pressing cultural issues of our times.

Travel between territories which exists contemporaneously is baffling in a psychogeographical sense. What had previously been considered as movement through indifferent space seems to be movement through time, into the future or into the past. The spatial assemblages within which these figures travel each have their own temporality, a rhythm that is produced and maintained by the processes that produce and maintain the human and nonhuman elements of the territory. Therefore travel narrative manifests itself as a narrative of space and difference and consequently travel writing as a format reflects an incessant surge of new concepts, new ways of seeing and being.. In this context, I argue that such an attempt is made by Harish Nambiar in his Defragmenting India: Riding a Bullet through the Gathering Storm, a travelogue narrative of a motorbike trip of the author and his friend across various states. Written in the dramatic backdrop of the 2002 Godhra riots, it provides an account of the various fault lines of Indian society quivering in the temblors that the communal riots of Gujarat sent across the nation. The book maps the urban consciousness of India by juxtaposing lives, issues and situations of educated and the uneducated, craftsman and conservationist, teacher and businessman, daughters and drunks from small towns and non-metro cities of India. It thus succeeds in capturing the undercurrents that flow through the life of a nation, community, city, families and individuals, simultaneously cutting across narrow divisive borders.

Routledg e is an imprint of the Taylor & Francis Group, an iriforma business © 2025 selection and editorial matter, Susan Liddy and Deirdre Flynn; individu al chapters , the contribu tors The right of Susan Liddy and Deirdre Flynn to be identifie d as the authors of the editorial material , and qf the authors for their individu al chapters , has been asserted in accordan ce with sections 77 and 78 of the Copyrig ht, Designs and Patents Act 1988. All rights reserved . No part of this book may be reprinted or reproduc ed or utilised in any form or by any electroni c, mechani cal, or other means, now known or hereafte r invented , includin g photoco pying and recordin g, or in any informat ion storage or retrieval system, without permissi on in writing from the publishe rs. Tradema rk notice: Product or corporat e names may be tradema rks or registere d trademar ks, and are used only for identific ation and explanat ion without intent to infringe. CO NT EN TS List of Contrib utors Introdu ction Deirdr e Flynn and Susan Liddy SECTIO N 1 Mothe rs, Daugh ters, and Interg enerat ional Relatio nships I Diary of a Chamb ermaid : Molly Smith Metzle r's Raw Chroni cle of Mothe r-Daug hter Relatio nships in Maid (2021) Anne-M arie Paquet -Deyris 2 Desirin g Daugh ter and Transg ressive Mother : The Refash ion of xi 13 Mother hood in the Film Send Me to the Clouds (2019) 27 Lin Zhang 3 A Story of Strateg ic Turkish Mother hoods within a Patriar chal Structu re: The Case of 2 Girls (2005) 39 Fatma Fulya Tepe and Per Bauhn 4 Explor ing the Compl exity ofltali an Mother hood on Screen: From Contes tation to Identity Format ion 53 Yasama n Taheri and Susan Poursa nati 5 'I Can't Leave Her': Matern al Gothic /Horro r in Heredi tary (2018), Relic (2020), and You Are Not My Mother (2021) Paula Quigle y vii Contents Contents 6 'You Smell the Same as Mum': Represen ting the Intersect ion of 15 Disrupte d Motherin g: Porn Performe rs Experien ces of the Idealised (Brother/ ) Sisterhoo d and Motherh ood in Chinese Movie Sister (2021) 79 Sexual Maternal Dichotom y 213

Have you ever thought what goes behind any television programme production? Or, have you ever noticed the names of the people involved in production process that appear on television after the programme ends? You may not have bothered to look at all the names which appear on the television screen at the end of the programme. But you must know that a whole range of personnel and equipments are involved in making a television programme.

El trabajo analiza la evolución de la industria de la producción de ficción televisiva española en el periodo de las plataformas de vídeo bajo demanda (2017-2023), época significativa porque cambia el ecosistema televisivo español en consumo y volumen de producciones. La investigación combina dos estudios: uno cuantitativo y otro cualitativo. El primero observa y clasifica las principales características de las productoras, y recopila las 154 empresas que realizan las 301 series de la etapa. El segundo analiza los sistemas de creación y producción de las productoras. Los datos resultantes se completan con la información aportada de 13 entrevistas semiestructuradas realizadas a profesionales en activo de la industria. Los resultados definen un escenario con oportunidades para las productoras experimentadas y también para las emergentes, porque las posibilidades han crecido con el aumento de operadores. En la creación y producción de series se distinguen tres modelos que cohabitan: desarrollo interno, desarrollo externo y modelo mixto. Se concluye que las plataformas conforman una nueva fase para la televisión al modificar los modelos de producción de series. La industria mantiene el oligopolio: unas pocas productoras amplían su participación, mientras que otras, menos experimentadas, son reclamadas por las plataformas para proporcionarles originalidad y sello autoral.

আচার্য ব্রজেন্দ্রনাথ শীল (১৮৬৪-১৯৩৮) একজন বাঙালি দার্শনিক এবং বহুবিদ্যাবিশারদ পণ্ডিত ছিলেন। তিনি ভারতের চিন্তা জগতে একজন উজ্জ্বল নাম হিসেবে পরিচিত। তিনি দর্শন, শিক্ষা, এবং সামাজিক সংস্কারের বিভিন্ন ক্ষেত্রে গুরুত্বপূর্ণ অবদান রেখেছেন। যে কয়েকজন মনীষী রবীন্দ্রনাথের সমসাময়িককালে রবীন্দ্রনাথের গভীর সান্নিধ্যে এসেছিলেন তাঁদের মধ্যে আচার্য ব্রজেন্দ্রনাথ শীলের নাম বিশেষভাবে উল্লেখযোগ্য। ব্রজেন্দ্রনাথের অপরিসীম জ্ঞান-পিপাসা, গভীর পাণ্ডিত্য ও মননশীলতা রবীন্দ্রনাথকে তাঁর প্রতি বিশেষভাবে আকৃষ্ট করেছিল। আলোচ্য বক্ষে কিছুটা তাঁর সম্পর্কে আলোচিত হয়েছে।

La ficción televisiva ha experimentado cambios múltiples y significativos durante el siglo xxi. Su presencia y la calidad de sus producciones se ha multiplicado exponencialmente, y ello le ha llevado a adquirir un progresivo ascenso cultural y a conquistar una destacada relevancia social. Los formatos televisivos de ficción han pasado de ser ignorados por la crítica y la academia a ocupar una posición privilegiada en la sociedad gracias a una combinación de factores culturales, sociales, tecnológicos y económicos. A las televisiones tradicionales que emitían estos contenidos se les han ido uniendo en la última década numerosas plataformas de naturalezas diversas, los dispositivos que empleamos para visionar las series han aumentado y cada vez es más sencillo acceder a contenidos heterogéneos y transnacionales porque se ha democratizado la creación, la producción y la difusión de este tipo de productos culturales de entretenimiento. La aparición de las plataformas de streaming, el desarrollo de los canales de pago y los cambios de las estrategias de la emisión en abierto han contribuido a extender este género audiovisual de una forma masi-

The Portuguese Revolution of April 1974 ended 48 years of dictatorship. The political evolution that followed the coup gave rise to a revolutionary process, the On-Going Revolutionary Period, which gained momentum, after March 11, 1975, opening "the path to socialism". As a side effect, the state became the owner of almost all the press. The first democratic elections took place on April 25, 1975. For the first time in almost 50 years, the press had the opportunity to do the cover in an environment of freedom of expression. However, the media were not immune to the revolutionary process and the newspapers were affected by the struggle for control of the information. The purpose of this study is a first approach in order to understand the news process and strategies to cover the electoral campaign in the press. The methodology will rely on a comparative analysis of the journalist formats in Diário de Notícas and Jornal Novo, chosen for de difference of each journalistic for...

La tendenza degli studi recenti di storia della comunicazione è stata quella di considerare la varietà, la coesistenza e la natura sistemica dei media nella società moderna e contemporanea. Termini come media system, ecosistema dei media o media ensemble sono così diventati familiari per gli storici. Un ulteriore passaggio, rispetto a questa concezione multimediale della comunicazione, si è verificato più recentemente. Forse anche come riflesso della società mediatica in cui viviamo, dominata da forme di comunicazione sempre più ibride, la comunicazione non viene più rappresentata solo come un universo multimediale – dove stampa, manoscritto, oralità, musica, performance, immagini, suoni e video coesistono –, ma piuttosto come un ecosistema intermediale – all’interno del quale i media interagiscono spesso sovrapponendosi, modificandosi o sostituendosi l’uno con l’altro. Il concetto di intermedialità non appare più oggi solo un ostico neologismo ma comincia a essere impiegato ‘sul campo’ dagli storici. Nel presente volume studiosi dell’età moderna e contemporanea utilizzano questo concetto come chiave di lettura per interpretare fenomeni sociali, politici e culturali, fornendo una serie di esempi di applicazioni concrete di un approccio intermediale alla comunicazione in diversi ambiti storiografici.

This graduation paper examines adapting Shakespeare in the “new age” of television, a time when television series are more popular and more accessible than ever. As subject of analysis I take two television series from different genres and from different parts of the world. From the western part of the globe, the focus is on HBO’s sci-fi drama Westworld and how it literally emulates the metatheatrical “world as a stage” metaphor that is prominent in Shakespeare’s works. In this segment, the creator of the virtual world, Dr. Ford is discussed as an extension of Shakespeare in terms of theatrical values and genius in terms of the portrayal of the human. From the eastern part of the globe, I set out to explore how the Japanese animated series Zetusen no Tempest merges characters and plots from two of Shakespeare’s plays – Hamlet and The Tempest, and transforms them into a distinctive fantasy-action-romance animated series. Moreover, in these animated series, magical and supernatural phenomena are used in a similar way as in Shakespeare’s plays, that is, they drive the story and demonstrate the power it has on a character’s mind. Furthermore, I demonstrate how the Tree of Exodus and the Tree of Genesis symbolically serve as a trial for civilizations and human rationality and intellect. By delving into the content and context of these two television series, this graduation paper aims to demonstrate that Shakespeare proves once again ready to be fused with any kind of genre on the small screens, and thus furthermore enrich and refine the genre his works are adapted to and engage even more readers and scholars in his works.

El capítulo, dentro del libro "Formas de contar Estudios sobre ficción en el cine y el audiovisual uruguayos" editado por Georgina Torello, Cecilia Lacruz y Pablo Alvira, aborda la ficción en televisión en la década del sesenta en Uruguay. Se situa el teleteatro en Uruguay como un género que surgió en la etapa «primitiva» del medio y ofició como un producto de transición en la búsqueda de un lenguaje propiamente televisivo. Para ello, se tomará el ciclo Gran teatro del mundo (César Charlone Ortega, Canal 10) y se lo contrapondrá con Escenario 12 (Elena Zuasti, Canal 12). Este ejemplo revela el propósito de incorporar a la pantalla chica teatro de calidad con lenguaje televisivo, que se alejara del estatismo del escenario y tuviera un tratamiento cinematográfico o, mejor aún, televisivo.

The paper, titled "Rani Abbakka Chowta: Balancing Historical Authenticity and Creative Adaptations in Indian Literature," examines the representation of Rani Abbakka Chowta, one of India's earliest freedom fighters, who resisted Portuguese colonialism in the 16th century. It focuses on two significant literary works: Rani Abbakka: The Queen Who Knew No Fear and Times of Warrior Queen Rani Abbakka. Through a comparative analysis, the study investigates how these narratives balance historical authenticity with creative liberties. The graphic novel Rani Abbakka: The Queen Who Knew No Fear employs vibrant illustrations and a simplified narrative to dramatise Abbakka's life for younger audiences. It emphasises her valour and leadership. In contrast, Times of Warrior Queen Rani Abbakka delves deeper into the socio-political dimensions of her resistance, portraying her strategic acumen and alliances in detail. This research paper examines how the narrative medium and storytelling intent shape the portrayal and legacy of Abbakka. It highlights the role of creative adaptations in constructing cultural icons and interrogates the influence of such representations on public memory. The paper also addresses how these portrayals bring attention to historical figures marginalised in mainstream historiography. By exploring the intersection of history and literature, this study underscores the importance of nuanced and inclusive retellings of figures like Rani Abbakka Chowta. It contributes to the broader discourse on historical representation in Indian literature.

道家是中国哲学的两大支柱之一。因为儒家哲学在中国及东亚各国家的政治和学术的各個方面一直占據著主导地位，道家哲学的影响就显得微不足道了。但是，在宗教、文学、艺术等领域，道家哲学的影响比其它任何哲学都更深远、更廣泛。而且, 就中国艺术史而言, 乐论是整個艺术理论之精髓。因为乐论在画论、书论、文论等各艺术领域之前创立并发展，蕴含著在分化成各個理论之前的艺术精神的原形。但是对乐论的研究开始以来, 对道家乐论的基本概念和问题意识方面都没能达成共识，至今仍是众说纷纭。
在近代以前的中国好像缺乏设定道家乐论这個范畴另外进行研究的人。因为表面上儒家禮乐思想在传统学术史的各個方面不断创造出能够占據主导地位的论说。中国历史典籍「禮乐志」，「乐志」或是「音乐志」等书，在说明音乐的大意，一定是对集儒家禮乐思想之大成的『禮记』「乐记」内容的重復，出现对禮乐思想进行批判的道家乐论的情况極少。但是即使不拿魏晋时代的文艺复兴做例子，仔细观察後代乐论展开的实际情况，批判既成观念，包容音乐变化, 并琢磨音乐的真正意义的道家乐论的影响，到处都可以找到。道家思想虽然看起来并没有总控全局，但它作为批判的动力发挥著作用，不仅在乐论领域可以看到，而且它是贯通中国思想的所有领域的共同现象。但是與以文献研究为基礎的维持师承关系的儒家不同，道家思想靠有实感和共感的人们去領會和琢磨，因此从艺术哲学的角度来说，反而更具有研究的意义。实际上对面临创作和演奏的艺人来说道家思想一直以来都不断提供著無穷無尽的靈感。
老子思想作为後来发展的道家思维的源头，在『老子』一书中 ‘音’‘声’概念也是道家乐论的起點。『老子』一书中，值得注意的乐论关联章句很少，其中能够體现音乐思想的章句就是‘音声相和’和‘大音希声’这两句。所以自道家乐论研究开始以来，这两句一直倍受关注，但是到目前为止，还从来没有作为相互具有一贯性的命题被毫無矛盾的理解。本论文首先对以往道家乐论研究的成果进行调查，接著分析对『老子』的传统注释和近来从音乐美学的立场提出的解释，进行批判并综合, 然後提出关于『老子』中‘音’‘声’概念具有说服力的见解，并以此为基礎再次对老子的乐论进行评價。『老子』一书‘音声相和’和‘大音希声’中关于‘音’‘声’概念的完整解释是真正的道家乐论形成的重要的出发點。

Bu kitabın ortaya çıkış amacı, öncelikli olarak Sinema ve Televizyon öğrencilerinin, akademide büyük oranda edindikleri kuramsal bilginin yanı sıra kısmi olarak edindikleri pratik yapma ve uygulama bilgilerini destekleme amaçlı sektörün uzmanlarının, uzun yıllar boyunca edindikleri bilgileri ve tecrübeleri, bir ders kapsamında belirli bir saat aralığında dahi öğrencilere aktardıklarında ne denli faydalı olduğunun görülmesi sebebiyle hayata geçirilmiştir.

2022-2024 yılları arası güz ve bahar eğitim-öğretim dönemlerinde Marmara Üniversitesi, İletişim Fakültesi, Radyo Televizyon ve Sinema Anabilim dalı müfredatında ele alınan dersler kapsamında davet edilen uzmanlar tarafından gerçekleştirilen oturumlar vesilesiyle elde edilen ve kitapta okuyucularına sunulan bu bilgiler, sinema-televizyon öğrencileri ya da bu alanda kendisini geliştirmek isteyen kişiler için bir el kitabı olması beklentisiyle yol gösterici bir misyon üstlenmektedir.

Bu eserde, kıymetli katılımcıların uzmanlık alanlarında ortaya koyduğu fikirlerle, sinema ya da dizi film yapımı noktasında her bölümde çok önemli bilgilerin aktarıldığına şahit olacaksınız. Bu kitap sayesinde, ele alınacak olan bir sinema veya dizi film projesinin hazırlık, çekim ve çekim sonrası aşamalarında nelerle karşılaşılabileceği hususlarında işin uzmanlarından, birbirinden değerli ve önemli öğretilerin ve aktarımların yapıldığı açık bir şekilde fark edilecektir.

Öte yandan öğrencilerin ve araştırmacıların yanı sıra sinema ya da dizi film izleyicileri için de işin mutfağında neler yapılarak projelerin seyircilere sunulduğunun cevaplarına da ulaşılacaktır. Ayrıca çalışmada; yapımcılar, OTT platformlar ya da televizyon kanalları tarafından izleyicilerin beklentilerini anlama adına uzmanlar tarafından yapılan bilgi aktarımları vesilesiyle “büyük resmin” anlaşılması hususunda da değerli bilgilere yer verilmektedir.
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Scenario, Production, Shooting, Editing, Broadcasting, Festivals, Marketing and Distribution Practices

The purpose of this book is primarily to support the theoretical knowledge that Cinema and Television students have acquired in the academic environment as well as the practical and application knowledge they have partially acquired. It has been realized since it is seen how useful it is for the experts of the sector to transfer the knowledge and experience they have gained over many years to the students within the scope of a lecture, even within a certain time interval.

This information, which was obtained through the sessions held by the invited experts within the scope of the courses covered in the curriculum of Marmara University, Faculty of Communication, Department of Radio, Television and Cinema in the fall and spring academic semesters between 2022-2024, undertakes a guiding mission with the expectation of being a handbook for cinema-television students or those who want to improve themselves in this field.

In this work, you will witness that very important information is conveyed in each chapter at the point of cinema or TV series film production with the ideas put forward by valuable participants in their fields of expertise. Thanks to this book, it will be clearly realized that valuable and important teachings and transfers are made from the experts of the business on what can be encountered in the preparation, shooting, and post-shooting stages of a cinema or TV series film project to be handled.

On the other hand, for students and researchers, as well as for movie or tv series viewers, the study will also provide answers to what is done in the kitchen to present the projects to the audience. In addition, the study also provides valuable information on understanding the “big picture” through the information provided by experts in order to understand the expectations of the audience by producers, OTT platforms, or television channels.


Idea Development and Script Writing Studies on Short and Feature Film Projects
M. Sami Okumuş

Management Studies and Production Phases in Arthouse Projects
Halil Kardaş

TV Series Film Production and Management
Fatih Enes Ömeroğlu

Line Producing in the TV Series Film Industry
Yasin Taşdiken

Directing in National and International Film Production Projects
Mahmut Fazıl Coşkun

Directing Photography in Documentary, Short, and Feature Fiction Films
Kürşat Üresin

Casting Directorship in Cinema and TV Series Film Projects
Erengül Öztürk

Art Direction in Arthouse Film and TV Series Projects
Natali Yeres

Acting in Cinema, Theater, and TV Series
Serdar Orçin

Short Digital Film Production, Editing and Distribution
Ramazan Kılıç

Editing in Arthouse Cinema and TV Series Film Projects
Naim Kanat

Processing of Video and Audio Files in Post-Production Stages of Analog and Digital Video Film Projects, Magnetic Field Effects, and Protection Methods
Alper Zengin

Rabindranath Tagore's Chitrangada, a dance drama based on a narrative from the simple retelling. This research article delves into the complexities of construction and deconstruction of identity, and the innovative use of narrative techniques. By closely reading the text and analysing its performance history, this paper argues that Chitrangada offers a nuanced perspective on female agency, identity fluidity, and self-representation power. It also explores how Tagore utilizes the dance emotional depth and thematic resonance. Furthermore, the article considers the socio Chitrangada and its continuing relevance in contemporary discussions about gender and identity. Introduction: The first non-European to win a Nobel Prize in literature Rabindranath Tagore, a polymath and a pivotal figure Indian literature, was not only a poet, novelist, and playwright but also a composer, philosopher, and visual artist.His creative genius found expression in diverse forms, including dance dramas, a genre he pioneered. Dance drama is a performance that uses dance movements and sometimes dialogue to tell a story. It can be a folk tradition that uses complex gestures to convey meaning. In ancient Greece, dance dramas often used mimed gestures to illustrate the story's main themes. In the Roman Empire, dance and pantomimes were popular sentiments. In 16th Italy, the commedia dell'arte improvised mime dramas were based on the pantomimes of the Roman Empire.

Temeljni je zadatak ovoga rada istražiti složeni svijet simbolike likova u jednoj od najvažnijih Krležinih drama, drami Vučjak. Simbolika likova raščlanjuje se u kontekstu povijesnih događanja te za Krležu karakterističnom, biblijskom kontekstu. Drama Vučjak smješta se u ciklus prijelaznih drama, pa je jedan od zadataka argumentirati, u odnosu na Krležino stvaralaštvo u cjelini, sintagmu prijelazna drama. Usto, dana je i kratka povijest nastanka djela: od prvotne ideje za roman Zeleni barjak do konačnog oblika s promijenjenim krajem. Tako je lik Krešimira Horvata simbol hrvatskog naroda nakon raspada Austro-Ugarske Monarhije, dok su likovi Eve, Marijane i Lazara biblijski motivirani

Este artículo desarrolla una aproximación al panorama de los festivales españoles espe-cializados en ficción televisiva. Para analizar los datos se propone una metodología mixta: descripti-va  y  explicativa,  que  aplica  técnicas  etnográficas  y  entrevistas  en  profundidad,  con  el  objetivo  de observar, describir y analizar el contenido y funcionamiento de los cuatro principales festivales que conforman  el  circuito  en  España  (Serielizados  Fest,  Conecta  Fiction  &  Entertainment,  Iberseries  y Platino  Industria  y  South International  Series  Festival).  Los  resultados distinguenvarias  funciones relevantes en estoseventos: la creación de redes y sinergias entre profesionales, la compraventa de obras, la búsqueda de financiación, la formación de creadores y la promoción de series a través de estrenos, coloquios  y charlas, que concitan la asistencia  de públicos y medios  de comunicación. Se concluye que los  festivales  de  ficción televisiva se han convertido en un elemento  clave dentro  del sector y que contribuyen de forma significativa a la consolidación de la industria en España.

O artigo aborda o “fluxo” planejado televisual completo da revista eletronica semanal Domingo Espetacular, analisando tanto o conteudo do programa quanto as propagandas comerciais transmitidas enquanto elementos indiciais para decifrar a audiencia alvo da emissora. E possivel constatar aspectos que remetem a Teologia da Prosperidade no conteudo veiculado, que revelam uma eventual “estrategia” de referencia a igreja evangelica neopentecostal proprietaria da emissora mesmo em um programa de TV nao religioso.

PT - Será que ainda faz algum sentido, nos nossos dias, refletir sobre o fenómeno televisivo? Esta é apenas uma das questões a que Abílio Almeida pretende dar resposta com este ensaio. Explorando a intrincada interseção entre a televisão e a sociedade contemporânea, o autor analisa como a média televisiva influencia e é influenciada pelos fenómenos sociais, económicos e religiosos, e o seu potencial futuro na era digital em constante evolução. Inspirado pela reflexão do teórico Dominique Wolton, autor do posfácio do livro, sobre a natureza multifacetada da televisão como agente de excitação, fascínio e desilusão, este ensaio propõe uma teoria crítica que transcende a mera análise da programação televisiva, e que convida a repensar a compreensão da televisão como um instrumento de comunicação e influência social.

ENG - Does it still make sense nowadays to reflect on the television phenomenon? This is just one of the questions that Abílio Almeida intends to answer with this essay. Exploring the intricate intersection between television and contemporary society, the author analyzes how television media influences and is influenced by social, economic and religious phenomena, and its future potential in the constantly evolving digital age. Inspired by the reflection of theorist Dominique Wolton, author of the book’s afterword, on the multifaceted nature of television as an agent of excitement, fascination and disillusionment, this essay proposes a critical theory that transcends the mere analysis of television programming, and invites us to rethink our understanding of television as an instrument of communication and social influence.

Griffith Research Online https://research-repository.griffith.edu.au AARE-APERA Using digital stories to communicate experiences of cross-cultural collaboration SESSION DETAILS Using digital stories to communicate experiences of cross-cultural collaboration AARE AGM Monday,

The British science fiction television series Doctor Who (1963-89) interwove the epic with the everyday, and this was a key component of its popularity and continuing cultural significance. This chapter examines the Doctor Who serial ‘The Chase’ (1965), an epic journey in which the TARDIS time machine is chased by the evil Daleks to a desert planet, then to the Empire State Building, the sailing ship Mary Celeste, a Gothic haunted house and finally to a futuristic metal city. By 1965 Doctor Who was losing its initial appeal; it had become everyday and ‘The Chase’ is in some ways an attempt to raise the stakes by using ambitious special effects and exotic locations despite the restrictions of the programme’s rapid, low-budget production. At the same time as it proclaims Doctor Who’s epic ambitions, the serial’s journey begins from, and includes extended scenes in, the TARDIS, a time travel machine that is also the everyday home of the protagonists. Studio-bound drama, characterised by talk and not action, alternates with jumps between exotic, other-worldly settings. In ‘The Chase’, Doctor Who explores the alternatives for what television science fiction can be. The serial’s epic journey ends by bringing the Doctor’s human companions home to the London of 1965, to look askance at their and their viewers’ everyday present. The chapter argues that ‘The Chase’ interrogates the value of long-running television programmes to domesticate the epic’s seriousness and scale, and to explore its alignment with everyday human experience.

Non-linear editing is a film editing technique that occurs within a computer environment. It is a technological improvement on the analog system of film production. Most recent films and television programmes in Nigeria are edited with this technology. This study examined the non-linear editing processes involved in the production of the film, Mission to Nowhere. The study adopted the survey method of research and made use of questionnaire with a sample size of one hundred and twenty professional filmmakers in Onitsha. The researchers used simple percentage method of data presentation and analysis to provide answers to the problems raised in the research questions. The work went into in-depth analytical study of the processes involved in the production of the film and gave insights on the inherent advantages and significance of non-linear editing over the linear editing system. The study work adopted the uses and gratification theory of the mass media in addressing the significance of nonlinear editing in film production. Findings revealed that non-linear editing is the prime of digital movie making; the pillar upon which the basic building blocks (shots) of films are blend to produce a thrilling storyline. The research further showed that non-linear editing contributes meaningfully to the development of the Nigerian film industry (Nollywood). The study is relevant as it contributes to sensitizing film and television programme producers on the need to adopt nonlinear production technique, especially now that the country moves towards a transition from analog to digital broadcasting. It is believed that this work as an original intellectual exercise will contribute to the world of knowledge and existing literature in the field of film production (editing) and programme appreciation.

DieserText basiert aufeinem Beitrag und dessen Diskussion aufder g.Jahrestagung der Osterreichischen Gesellschaft fiir Geschlechterforschung (OGGF) im September/Ol<tober zozz in Salz- burg. Dank an die Diskussionsteilnehmer:innen sowie Tyan Fritschy und Zoe* Steinsberger ftir wertvolle Denkanstci(e. Vgl. Katy Steinmetz,,The Tiansgender Tipping Point. America's next civil rights frontiern, in: Tlnre,z|.Maizor4, (rz'rz'zo4)' Ich verwende die Schreibweise >uans< als inklusiven Uberbegriffoder als Prdfix, um unterschied- liche Erfahrungen und Verkcirperungen zu umfassen' Vgl' Susan Stryker/Paisley CurraVlisa Jean Moore, rlntroduction:Tians-,Tians, orTiansgender?', in Women\ Studies Quarterly,36'18', 3-4/zoo8,S. n-zz,hrtps://www.jstor.orglstable/2764g78t (rz.rz'zo4)' Luf Deutsch findet sich der -Begriffin diesem Sinne entweder als trans oder trans*, Parallel zu trans verwende ich auch die in dertschsprachigenTians* und Inter* Studien etablierten Begriffe 'transgesctrlechdich' bsziehungsweise ,inier*, und ,intergeschlechtlich,' Vgl. Esto Mader et al. (Hg'),Trans* und Inter* Studien' Aktuelle Forscbungsbeitn)ge aus dem deutscbErachigen Raeraz, Miinster: Westfilisches Dampfboot zozr und Christel Baltes-LOhr/Ren6-Rain Hornstein (Hg), trans*, interr und nicht-bindre Gescblecht- I i c h ke it e n, Bielef eld : transcript zoz4. Vgl. Anson Koch-Rein/Elahe Haschemi Yekani{asperJ. Verlinden, "Representing Tians: Visibiiity and its Discontents u,in; EuropeanJoumat of Engtisb Studies,z4'Jg',tlzozo,S' nz,https:// doi.orglro.ro8o/q8z5577.zozo.t73oo4o (rz.rz.zoz3). ZuTians Cinema andMedia Studies siehe das von C7e1 M. Keegan und Laura Horak editierte Dossier 'In Focus'tansing Cinema and Media z J iiber haben u'ir e: :rit einer vergleichsweisen Unsichtbarkeit von genderqueere:----.: intergeschlechtlichen Charakteren, oder aber auch nicht-biniren Charakteren z'-:--,Nicht-bindr. r.envende ich im vorliegenden Text als Uberbegriff ftr Geschleci-.-r::. - keiten, die nicht oder nicht vollstdndig von den Begriffen ,weiblich. oder 'man-:---:- reprisentiert werden, und fiir Personen bzw. Charaktere, die sich nicht oder nich; -" : -- stindig als Frau oder Mann und als nicht-binir identifizieren bzw. von der med''.-Vermittlung als solche identifiziert werden.l Vor dem queertheoretischen Be:----- dass Begriffe und Vorstellungen von Geschlecht kontinuierlich in Bewegung sini ':.i1: sich historisch und lokal spezifische Begrifre nicht einfach auf andere Kontexte '---":- tragen lassen, interessiert mich in diesem Text konlret der reprisentationspolit:.::'. Hintergrund der expliziten Benennung von Nicht-Binaritatin zwei aktuellen Se::. - produktionen. Nach den theoretischen Uberlegungen zu diesem reprisentations: -tischen Kontext analysiere ich zwei Beispiele, einerseits die Figur Charlie, darqe.:.-' von Lea Drinda in der 2022 vom ZDF produzierten Miniserie Becoming Charlii ?- Greta Benkelmann/Kerstin Polte, DE 2022) und andererseits die Figur Cal, da:r.- stellt von Dua Saleh in der dritten Staffel der vom Video-on-Demand-Anbieter \::flix vertriebenen Produktion Ser Education (C.: Laurie Nunn, UK 2079-2023': '' : 2027.5 lch gehe zunichst auf den Kontext ein, in dem sich der Begriff 'nicht-b::in den letztenJahren verbreitet hat und setze nicht-binire und trans Geschlechtl:::-- keiten zueinander in Bez'tg.Ich widme mich in diesem Beitrag medial produzie-"-- Bildern nicht-binirer Verkorperungen, womit ich die Art und Weise meine, in J= Korper, auch medial, mobilisiert werden, um nicht-binire Charaktere zu insze::=- ren. Dabei gehe ich von der These aus, dass sich Darstellungen von Nicht-Bina:::.: auf Tiopen und mediale bzw. filmische Konventionen stiitzen, die sich in Bezus .-' Tiansgeschlechtlichkeit entwickelt haben. Mit Uberlegungen zum Sichtbarkeitsp-.- dox und zu Transnormatiitdt in filmischen Darstellungen erleutere ich daher e:-- gangs zwei zentraleAspekte medialer Darstellungen vonTiansgeschlechtlichkeit. D-. Analyse der beiden Beispiele basiert auf dem methodischenZugangder SomatecL:--r- den ich aus einem zentralen Text der Tians Cinema and Media Studies ableite.' Stndiesu, in:/CMS.Journal of Cinema and Media Studies,fi.Jg.,z/zozz,S. r64-ztz,: umich.edVj/jcms/images/6r.2-in{ocus.pdf Qz n.zo4). Genders, S. 3r1r, (rz.rz.zoz3), hier S. 32. Es gibt auch deo Zngang, ,nicht-bindr, vordergriindig als politische Perspekive oder Haltung zu verstehen. Vgl. Kadji Amin, "We Are All Nonbinary",in: Re1resentations,Nr. r58, Spring zozz,S. ro6-t9,https:// doi.org/ rc.1525/ rep.zozz.r58.rr.ro6 (tz.rz.zo4),tier S. rr5.

El relato televisivo sobre ETA después del cese de la violencia. Ficción, docuseries y reportajes documentales (2019-2020) Television narratives about ETA after the cessation of violence. Fiction, docuseries and documentary reports (2019-2020

Esta publicação tem por objetivo a apresentação, em caráter histórico, político, social e econômico, das produções que compõem o universo audiovisual infantil do Brasil. Para este fim, foi realizado um amplo levantamento bibliográfico acerca da história e trajetória desta produção e buscamos aqui organizar numa linearidade temporal, a partir de determinados marcos políticos e legislativos que afetaram o rumo dos conteúdos infantis nos mercados de cinema e televisão do país, algumas das produções de maior destaque em cada período destes mais de setenta anos de produção. Por fim, notamos a relevância das produções infantis para o audiovisual brasileiro, a potencialidade de suas narrativas e deste público consumidor, bem como, as nuances e ideais políticos e econômicos que guiaram e atravessam a história dessa produção.

Penelitian yang berjudul penerapan inner conflict dalam membangun unsur dramatik pada penulisan skenario film fiksi "Holong Na Mariboto" mengangkat kisah persaudaraan dari abang dan adik perempuan yang dipadukan dengan kebudayaan suku Batak Toba yaitu Dalihan Na Tolu. Holong Na Mariboto diambil dari bahasa Batak yang artinya cinta kasih persaudaraan. Dalam sebuah naskah tentunya harus bisa membawa penonton menikmati cerita dan mencerna pesan yang didalamnya.Metode dalam penelitian ini adalah menggunakan metode deskriptif kualitatif sebagai teori yng digunakan teori Horney (teori yang menyatakan konflik dalam diri sendiri) misalnya dihadapkan pilihan dua keinginan yang arahnya berbeda, atau antara harapan dengan kewajiban, atau antar dua pangkat nilai. Penerapan inner conflict bertujuan untuk menambah unsur dramatik pada penulisan skenario film. Sedangkan hasil dalam penelitian ini adalah adanya konflik batin yang terdapat pada scene 6, 10, 17. Pada scene 6 Mida mengalami konflik batin yaitu ketika Mida mengalami tekanan kerasnya kehidupan didunia perantauan Mida rindu kepada keluarganya dikampung. Kemudian pada scene 10 bingkai foto yang jatuh mengingingatkan kembali kerinduan Mida terhadap keluaarganya dengan mengutarakannya didalam hatinya sambil melihat foto keluarganya. Dan scene 17 konflik batin dalam diri Mida kembali timbul yaitu Mida bimbang ingin pulang kampung namun tidak ada biaya untuk pulang.

El objetivo es evaluar en qué medida la literatura estaba presente en la programación de TVE durante la etapa franquista. Para ello se abordará la presencia de las letras en los programas emitidos entre el 1 de enero de 1958 y el 20 de noviembre de 1975. Se analizarán dos tipos de programas: por un lado, las emisiones de corte cultural, que tenían como objetivo la divulgación de las novedades literarias y el fomento de la lectura entre los espectadores; y, por otro, las adaptaciones o representaciones de obras literarias. En el primer caso, se realizará una aproximación exhaustiva mediante el análisis de los contenidos de cada programa. En cuanto a los programas que convertían los clásicos literarios en entretenimiento televisivo se realizará un estudio de los mismos desde el punto de vista de la programación, centrado en qué momento del día se programaban, a qué público iban dirigidos y el peso real en parrilla. La conclusión principal de este análisis es que la literatura fue uno de los pilares de la divulgación cultural.

Intervalos comerciais são peças comuns em qualquer emissora de televisão e há muito tempo se discute a veiculação de comerciais televisivos na TV Educativa. Buscou-se verificar, no presente estudo, de que forma os intervalos comerciais da televisão educativa FURB TV de Blumenau, Santa Catarina, são apresentados ao telespectador, por meio de análise feita com base na metodologia de Elin e Lapides (2006). Foram estudados também textos de diversos autores ligados à área de Comunicação para melhor fundamentar a análise. Espera-se que este estudo crie discussões acerca das interfaces comunicacionais que englobem Comunicação e Educação.

(Master Thesis in translation, NOT A PUBLISHED ESSAY)

Una tesi di fine master (Master di I livello in Traduzione Audiovisiva presso l'Università di Torino) che esplora le difficoltà traduttive poste dalla presenza sempre più frequente di personaggi di identità nonbinaria nelle serie anglofone.
Una prima sezione della tesi tratta il concetto di genere, la parte centrale presenta un resoconto dei dati estratti da un survey a campione effettuato ad hoc, l'ultima parte prende in esame la serie "Our Flag Means Death", raccogliendone l'impatto e proponendo possibili traduzioni considerandola un caso studio.

The advancement of technology and the ascent of capitalism have laid the foundation for a heavily corrupted society and a contemporary human disaster. Rule-makers, the top %1 of the %1 of the society, have sought to brainwash the masses, controlling and manipulating them in order to steer them to further their own interests and amass wealth. As a direct consequence, many individuals have rejected the societal norms, and resorted to illicit means to destabilize both the ruling body and the capitalist framework. In his article titled "Industrial Society and Its Future," the American terrorist Ted Kaczynski, also known as the Unabomber, proclaimed that ‘’the Industrial Revolution and its consequences have been a disaster for the human race.’’ (Kaczynski 1) The entertainment industry, through airing movies and TV shows based on such individuals seem to romanticize them solely for profit and viewer attention. Furthermore, the US entertainment industry not only profits from such twisted individuals who sought vengeance by inflicting harm on the innocent, but it also serves as an epicenter for highlighting societal corruption and the echoes of capitalism within its productions. Mr. Robot, created by Sam Esmail, is an excellent instance of a production that criticizes the corrupted society and the flawed psyche of capitalism. Notably, Mr. Robot embarks on a bold venture to expose the detrimental consequences of the entertainment industry and capitalism, both of which play a role in perpetuating corruption. The purpose of evaluating Mr. Robot is to uncover the strategies adopted by the masterminds of the entertainment business in order to convey messages and explore the deeply rooted social issues in society.