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A Production Process for Developing a Web Series, Snaptv
California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 12-2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV Toebey T. Caldwell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Acting Commons, Dramatic Literature, Criticism and Theory Commons, Other Theatre and Performance Studies Commons, Performance Studies Commons, Playwriting Commons, and the Television Commons Recommended Citation Caldwell, Toebey T., "A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV" (2017). Electronic Theses, Projects, and Dissertations. 588. https://scholarworks.lib.csusb.edu/etd/588 This Project is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Interdisciplinary Studies: Film Theory and Media Production by Toebey Ty Caldwell December 2017 A PRODUCTION PROCESS FOR DEVELOPING A WEB SERIES, SNAPTV A Project Presented to the Faculty of California State University, San Bernardino by Toebey Ty Caldwell December 2017 Approved by: Kathryn Ervin, Committee Chair, Theatre Arts Andre Harrington, Theatre Arts C. Rod Metts, Communication Studies © 2017 Toebey Ty Caldwell ABSTRACT My project for this Interdisciplinary Master’s Program, studying Film Theories and Media Production methods, details “A Production Process for Creating a Web Series, called SNAPtv”. -
Watching Television with Friends: Tween Girls' Inclusion Of
WATCHING TELEVISION WITH FRIENDS: TWEEN GIRLS’ INCLUSION OF TELEVISUAL MATERIAL IN FRIENDSHIP by CYNTHIA MICHIELLE MAURER A dissertation submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Doctor of Philosophy Graduate Program in Childhood Studies written under the direction of Daniel Thomas Cook and approved by ______________________________ Daniel T. Cook ______________________________ Anna Beresin ______________________________ Todd Wolfson Camden, New Jersey May 2016 ABSTRACT Watching Television with Friends: Tween Girls’ Inclusion of Televisual Material in Friendship By CYNTHIA MICHIELLE MAURER Dissertation Director: Daniel Thomas Cook This qualitative work examines the role of tween live-action television shows in the friendships of four tween girls, providing insight into the use of televisual material in peer interactions. Over the course of one year and with the use of a video camera, I recorded, observed, hung out and watched television with the girls in the informal setting of a friend’s house. I found that friendship informs and filters understandings and use of tween television in daily conversations with friends. Using Erving Goffman’s theory of facework as a starting point, I introduce a new theoretical framework called friendship work to locate, examine, and understand how friendship is enacted on a granular level. Friendship work considers how an individual positions herself for her own needs before acknowledging the needs of her friends, and is concerned with both emotive effort and social impact. Through group television viewings, participation in television themed games, and the creation of webisodes, the girls strengthen, maintain, and diminish previously established bonds. -
HOW to BUILD an AUDIENCE for YOUR WEB SERIES: Market, Motivate and Mobilize
HOW TO BUILD AN AUDIENCE FOR YOUR WEB SERIES: Market, Motivate and Mobilize Julie Giles A Publication of the Independent Production Fund How to Build an Audience for Your Web Series: Market, Motivate and Mobilize Publication date May 2011 Written by: Julie Giles www.greenhatdigital.com Editor: Andra Sheffer Graphic Design/Layout: Helen Prancic Version 1.0 © Copyright 2011 Independent Production Fund All right reserved. No part of this book may be reproduced or transmitted in any form or by an means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Contact [email protected] Notice of Liability. The information in this book is distributed on an “as is” basis, without warranty. While every precaution has been taken in the preparation of this book, neither the author nor the publisher shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or any materials or products described therein. National Library of Canada Cataloguing in Publication Data Main entry under title: How to Build an Audience for your Web Series: Market, Motivate and Mobilize Issued also in French under title: Comment bâtir un auditoire pour une websérie: Commercialiser, Motiver, Mobiliser. ISBN 978-0-9876748-0-7 Published in Canada by: Independent Production Fund 2 Carlton St., Suite 1709 4200, boul Saint-Laurent, Bureau 503 Toronto, Ontario M5B 1J3 Montréal, Québec H2W 2R2 [email protected] -
Dissertation Von J
Web-TV. Entstehungsgeschichte, Begriffe, Ästhetik Vom Fachbereich II (Kulturwissenschaften und Ästhetische Kommunikation) der Universität Hildes- heim zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) angenommene Dissertation von Jennifer Ahl geboren am 18.06.1983 in Salzgitter-Bad Gutachter: Professor Doktor Hans-Otto Hügel Tag der mündlichen Prüfung: 15. Mai 2013 Inhaltsverzeichnis 1 „Fernsehen war gestern?“ – Einführung .................................................................... 5 1.1 Eingrenzung des Themas .......................................................................................................... 7 1.2 Vorgehen und Zielsetzung ....................................................................................................... 11 1.2.1 Die ästhetische Perspektive ............................................................................................ 11 1.2.2 Struktur der Arbeit und Darstellung der Thesen .............................................................. 13 2 „How will we know ,television’ when we see it?“ – Kriterien zur Bestimmung von Fernsehartigkeit im World Wide Web .......................................................................16 2.1 Mediale Struktur ....................................................................................................................... 18 2.1.1 Programmfluss versus Hypertext..................................................................................... 18 2.1.2 Serialität als Strukturprinzip ............................................................................................ -
HOW to WATCH TELEVISION This Page Intentionally Left Blank HOW to WATCH TELEVISION
HOW TO WATCH TELEVISION This page intentionally left blank HOW TO WATCH TELEVISION EDITED BY ETHAN THOMPSON AND JASON MITTELL a New York University Press New York and London NEW YORK UNIVERSITY PRESS New York and London www.nyupress.org © 2013 by Ethan Thompson and Jason Mittell All rights reserved References to Internet websites (URLs) were accurate at the time of writing. Neither the author nor New York University Press is responsible for URLs that may have expired or changed since the manuscript was prepared. Library of Congress Cataloging-in-Publication Data How to watch television / edited by Ethan Thompson and Jason Mittell. pages cm Includes bibliographical references and index. ISBN 978-0-8147-4531-1 (cl : alk. paper) — ISBN 978-0-8147-6398-8 (pb : alk. paper) 1. Television programs—United States. 2. Television programs—Social aspects—United States. 3. Television programs—Political aspects—United States. I. Thompson, Ethan, editor of compilation. II. Mittell, Jason, editor of compilation. PN1992.3.U5H79 2013 791.45'70973—dc23 2013010676 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. We strive to use environmentally responsible suppliers and materials to the greatest extent possible in publishing our books. Manufactured in the United States of America 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments ix Introduction: An Owner’s Manual for Television 1 Ethan Thompson and Jason Mittell I. TV Form: Aesthetics and Style 1 Homicide: Realism 13 Bambi L. Haggins 2 House: Narrative Complexity 22 Amanda D. -
Writing the Web Series ARONIVES
Byte-Sized TV: Writing the Web Series ARONIVES MASACHUSETTS INSTME By OF TECHNOLOGY Katherine Edgerton MAY 1 4 2013 B.A. Theatre and History, Williams College, 2008 LIBRARIES SUBMITTED TO THE PROGRAM IN COMPARATIVE MEDIA STUDIES/WRITING IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2013 © Katherine Edgerton, All Rights Reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: / /I - -11-11 Program in Comparative Media Studies/Writing May 10,2013 Certified by: Heather Hendershot Professor of Comparative Media Studies Thesis Supervisor Accepted by: Heather Hendershot Professor of Comparative Media Studies Director of Comparative Media Studies Graduate Program Byte-Sized TV: Writing the Web Series By Katherine Edgerton Submitted to the Program in Comparative Media Studies/Writing on May 10, 2013 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies ABSTRACT Web series or "webisodes" are a transitional storytelling form bridging the production practices of broadcast television and Internet video. Shorter than most television episodes and distributed on online platforms like YouTube, web series both draw on and deviate from traditional TV storytelling strategies. In this thesis, I compare the production and storytelling strategies of "derivative" web series based on broadcast television shows with "original" web series created for the Internet, focusing on the evolution of scripted entertainment content online. -
Netflix, Apple, Google and Facebook
BROADBAND CONVERGENCE: MEDIA CONTENT TELEVISION’S NEWCOMERS: NETFLIX, APPLE, GOOGLE AND FACEBOOK Trevor Barr This paper essentially deals with innovation related to Internet Television, not Internet Protocol Television (IPTV), which is so widely seen as a major new application for NBN Co. It constructs four business models of Internet television related to the recent innovation offered by four American based corporations, each of whom is relatively new to television. It offers an analysis of Netflix as the aggregation model, Apple TV as continuing its iPhone walled garden business model but this time for television, Google TV where convergence for television would be free, and also of movies becoming available on Facebook, the progressively more ubiquitous social media site. None of these players are original television content creators. All are highly dependent for content on the established commercial television networks in the USA, whose management face complex dilemmas as to whether it embraces the opportunity to make more programming available to new outlets, but at no risk to their programming rights, or to their lucrative advertising base. The development of Internet television, and how it comes to compete or co-exist with IPTV, may be a broadband game changer, not only in the USA but also eventually for Australia. INTRODUCTION A popular genre of media industry conferences in the United States canvasses the possible long-term effects of recent innovations in the television industry. Three of the largest communications corporations in the world, namely Apple, Google and Facebook, have recently entered the United States television markets. However, the boldest challenge to date has come from a newer and much smaller US company, Netflix. -
Intertestuale, Intermediale E Crossmediale, E Il Gusto Dell’Inatteso, in Breaking Bad
Intertestuale, intermediale e crossmediale, e il gusto dell’inatteso, in Breaking Bad Nicola Dusi Cinema e serialità televisiva Forse ha ragione Menarini (2014), quando sostiene che le nuove forme espanse delle serie tv americane si sono totalmente emancipate dalla «sindrome di inferiorità culturale» con il cinema, e anzi hanno quasi invertito i termini della questione soprattutto, secondo lui, negli anni dopo Avatar con un film in 3D che riempie le sale con una narrazione semplificata ed epica, mentre la poetica delle serie tv si merita l’appellativo di “Complex TV” (Mittel 2015). Mittel sostiene inoltre che la nuova complessità narrativa richiede categorie di analisi diverse da quelle usate per i media tradizionali, da quando supera la logica “episodic” della serialità televisiva del passato per aprire al “serial”, o meglio alle serie serializzate, ed espande la sua narrazione in divenire, non solo nelle varie stagioni ma nello storytelling transmediale dei paratesti e delle pratiche dei fan. In effetti, le serie tv vengono ormai studiate come “ecosistemi mediali seriali” (Innocenti, Pescatore 2011)1, in cui si trovano meccanismi di “resilienza” e di “continuità” 1 Per Innocenti e Pescatore (2011: 135) le nuove serialità legate alle serie tv americane sono “oggetti abnormi”, con mutazioni espanse e transmediali che durano nel tempo, presentano un universo complesso piuttosto che una singola narrazione, con la «capacità di ramificarsi attraverso media differenti, Between, vol. VI, n. 11 (Maggio/ May 2016) Nicola Dusi, Intertestuale, intermediale e crossmediale, e il gusto dell’inatteso, in Breaking Bad dello storyworld. E le nuove serie sono ibridate nei generi e quasi sempre proliferanti di citazioni e omaggi, basti pensare a True Detective e a Fargo, di cui parla in questo numero l’articolo di Giorgio Grignaffini. -
Matthew Loads Thesis
Australian Webisodes 2010-2014: Extending Narrative and Promoting Television Drama Online Matthew Loads Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy 2021 Department of Media and Communication School of Arts, Social Sciences and Humanities Faculty of Health, Arts and Design Swinburne University of Technology 1 Abstract This thesis analyses webisode production in Australian television drama. It defines webisodes as short-form original video texts connected to a television program and produced for an online audience. They emerged as a form of video content in the mid-1990s and are currently recognised as a component of multi-platform television in Australia. Their creation reveals important emerging trends in the Australian screen industry. The study examines the production processes that shape these texts, and how webisodes contribute to the history of Australian television by reflecting larger changes in drama production. Through a consideration of both formal practices and storytelling conventions, the thesis employs Elana Levine’s five modes of production as its core methodological framework. Developed to examine the production of the soap opera General Hospital (1963-), this thesis adapts a framework established for pre-internet network television in North America to the production process that shaped Australian webisodes from 2010 to 2014, a period where webisode production solidified. Four webisode case studies directly linked to TV drama programs are explored—Network Ten’s Offspring (2010-2018) and Secrets and Lies (AU, 2014), SBS’s Danger 5 (2012-2015), and the ABC production of Nowhere Boys (2013- 2019). Findings are based on interviews with 27 production personnel and visits to production sets, and the detailed examination of trade press, industry and government reports. -
Analysis of Chinese Generation Y's Viewing Gratification of Web Series
ANALYSIS OF CHINESE GENERATION Y’S VIEWING GRATIFICATION OF WEB SERIES i ANALYSIS OF CHINESE GENERATION Y’S VIEWING GRATIFICATION OF WEB SERIES Wei Yijun This Independent Study Manuscript Presented to The Graduate School of Bangkok University in Partial Fulfillment of the Requirements for the Degree Master of Communication Arts 2016 ii ©2016 Wei Yijun All Rights Reserved iv Wei, Y. Master of Arts in Communication Arts, August 2016, Graduate School, Bangkok University. Analysis of Chinese Generation Y’s Viewing Gratification of Web Series (75 pp.) Advisor: Assoc. Prof. Boonlert Supadhiloke, Ph.D. ABSTRACT With the advent of information technology, Chinese generation Y started to watch TV programs through video websites with their web TV, tablet computer or smart phone. Some talented content providers began to create a new kind of culture product, web series. Web series has its special style, very different from TV drama, gradually become popular in Generation Y. Web series impact on traditional TV series industry hugely, and become a new phenomenon of Chinese cultural industry which builds considerable profit. This research uses survey approach, to explore what kind of Generation Y like to watch web series and what factors will influence their gratification of watching web series. Research found that younger Generation Y tends to spend more time on web series. Besides, the more negative stereotype Generation Y has on TV drama, the more they obtain gratification from watching web series. The result of this research can help web series content providers and people who working in cultural industry to promote China’s entertainment business in the future. -
Call for Comments on the Governor in Council's Request for a Report On
Broadcasting Notice of Consultation CRTC 2017-359, Call for comments on the Governor in Council’s request for a report on future programming distribution models Comments of the Canadian Media Producers Association December 1, 2017 Table of Contents EXECUTIVE SUMMARY ................................................................................................................. 4 RESPONSES TO CRTC QUESTIONS ............................................................................................... 7 The Distributors: The Delivery of Internet Television Services by Internet and Wireless Distributors is Causing a Modest, but Growing, Decline in the Revenues of Broadcasting Distribution Undertakings, thereby Shifting Business Models .................................................. 7 The Exhibitors: The Growth of Internet Television Services is Shifting the Business Models of Broadcasters, but Canadians Still Watch Mostly Broadcast Television ...................................... 8 The Producers and Creators of Content: Independent Producers are Embracing the Shift with New and Innovative Business Models .................................................................................... 10 The Existing Contribution Framework for Canadian Programming Remains Foundational to the Success of New Business Models ........................................................................................... 15 The Value Associated with New Revenue Sources Increasingly Sits with Exhibitors and Distributors .......................................................................................................................... -
TRANSMEDIA PLATFORMS a Creator’S Guide to Media and Entertainment
TRANSMEDIA PLATFORMS a creator’s guide to media and entertainment anne zeiser © Illustration by Brett Ryder A companion to Transmedia Marketing: From Film and TV to Games and Digital Media Contents _______________________________ Preface to Transmedia Marketing 4 Chapter 1 – Introduction – Transmedia Platforms 7 Transmedia Platforms Today 7 Finding Your Platforms 9 Chapter 2 – Film 10 History of Film 10 Film Industry Standards 13 Film Trends 19 Chapter 3 – Broadcast –Television and Radio 21 History of Television 21 Television Industry Standards 23 Television Trends 27 History of Radio 30 Radio Industry Standards 31 Radio Trends 34 Chapter 4 – Print – Books and Publications 36 History of Books 36 Book Industry Standards 38 Book Trends 41 History of Newspapers 42 Newspaper Industry Standards 43 Newspaper Trends 45 History of Magazines 46 Magazine Industry Standards 46 Magazine Trends 48 Chapter 5 – Games 49 History of Games 49 Game Industry Standards 51 Game Trends 58 ! 2! Chapter 6 – Digital Media – Internet and Mobile 61 Digital Media Overview 61 The Internet 63 Web Sites 64 Blogs, Pods, and Vlogs 66 Social Media 68 Mobile Apps 70 Digital Marketing and Awards 71 Key Social Media Sites and Apps 76 Facebook 77 Google+ 78 Twitter 80 YouTube 82 Tumblr 83 Instagram 83 LinkedIn 84 IMDb 85 Reddit 86 Snapchat 86 Shazam 87 Skype 87 Flickr 88 Pinterest 88 MySpace 88 Vine 89 Flipboard 89 Goodreads 90 Flixter 90 Raptr 90 Viggle 91 Beamly 91 Periscope 91 Meerkat 92 Chinese Platforms 92 Chapter 7 – Experiential Media 93 Theatrical Productions 93 Concerts 97 Exhibitions and Live Installations 98 Theme Parks 99 Toys 101 Chapter 8 – Conclusion – Transmedia Platforms 103 Shaping Your Transmedia Profile 103 Embracing the Transmedia Future 105 ! 3! Preface to Transmedia Marketing: From Film and TV to Games and Digital Media _______________________________ Over the past decade, I’ve had countless queries from anxious filmmakers and media makers seeking advice about setting up a Facebook page or a Twitter account.