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Medical Television Programmes and Patient Behaviour
Gesnerus 76/2 (2019) 225–246, DOI: 10.24894/Gesn-en.2019.76011 Doing the Work of Medicine? Medical Television Programmes and Patient Behaviour Tim Boon, Jean-Baptiste Gouyon Abstract This article explores the contribution of television programmes to shaping the doctor-patient relationship in Britain in the Sixties and beyond. Our core proposition is that TV programmes on medicine ascribe a specifi c position as patients to viewers. This is what we call the ‘Inscribed Patient’. In this ar- ticle we discuss a number of BBC programmes centred on medicine, from the 1958 ‘On Call to a Nation’; to the 1985 ‘A Prize Discovery’, to examine how television accompanied the development of desired patient behaviour during the transition to what was dubbed “Modern Medicine” in early 1970s Brit- ain. To support our argument about the “Inscribed Patient”, we draw a com- parison with natural history programmes from the early 1960s, which simi- larly prescribed specifi c agencies to viewers as potential participants in wild- life fi lmmaking. We conclude that a ‘patient position’ is inscribed in biomedical television programmes, which advance propositions to laypeople about how to submit themselves to medical expertise. Inscribed patient; doctor-patient relationship; biomedical television pro- grammes; wildlife television; documentary television; BBC Horizon Introduction Television programmes on medical themes, it is true, are only varieties of tele- vision programming more broadly, sharing with those others their programme styles and ‘grammar’. But they -
The Edward R. Murrow of Docudramas and Documentary
Media History Monographs 12:1 (2010) ISSN 1940-8862 The Edward R. Murrow of Docudramas and Documentary By Lawrence N. Strout Mississippi State University Three major TV and film productions about Edward R. Murrow‟s life are the subject of this research: Murrow, HBO, 1986; Edward R. Murrow: This Reporter, PBS, 1990; and Good Night, and Good Luck, Warner Brothers, 2005. Murrow has frequently been referred to as the “father” of broadcast journalism. So, studying the “documentation” of his life in an attempt to ascertain its historical role in supporting, challenging, and/or adding to the collective memory and mythology surrounding him is important. Research on the docudramas and documentary suggests the depiction that provided the least amount of context regarding Murrow‟s life (Good Night) may be the most available for viewing (DVD). Therefore, Good Night might ultimately contribute to this generation (and the next) having a more narrow and skewed memory of Murrow. And, Good Night even seems to add (if that is possible) to Murrow‟s already “larger than life” mythological image. ©2010 Lawrence N. Strout Media History Monographs 12:1 Strout: Edward R. Murrow The Edward R. Murrow of Docudramas and Documentary Edward R. Murrow officially resigned from Life and Legacy of Edward R. Murrow” at CBS in January of 1961 and he died of cancer AEJMC‟s annual convention in August 2008, April 27, 1965.1 Unquestionably, Murrow journalists and academicians devoted a great contributed greatly to broadcast journalism‟s deal of time revisiting Edward R. Murrow‟s development; achieved unprecedented fame in contributions to broadcast journalism‟s the United States during his career at CBS;2 history. -
The Emergence of Digital Documentary Filmmaking in the United States
Academic Forum 30 2012-13 Conclusion These studies are the second installment of a series which I hope to continue. Baseball is unique among sports in the way that statistics play such a central role in the game and the fans' enjoyment thereof. The importance of baseball statistics is evidenced by the existence of the Society for American Baseball Research, a scholarly society dedicated to studying baseball. References and Acknowledgements This work is made much easier by Lee Sinins' Complete Baseball Encyclopedia, a wonderful software package, and www.baseball-reference.com. It would have been impossible without the wonderful web sites www.retrosheet.org and www.sabr.org which give daily results and information for most major league games since the beginning of major league baseball. Biography Fred Worth received his B.S. in Mathematics from Evangel College in Springfield, Missouri in 1982. He received his M.S. in Applied Mathematics in 1987 and his Ph.D. in Mathematics in 1991 from the University of Missouri-Rolla where his son is currently attending school. He has been teaching at Henderson State University since August 1991. He is a member of the Society for American Baseball Research, the Mathematical Association of America and the Association of Christians in the Mathematical Sciences. He hates the Yankees. The Emergence of Digital Documentary Filmmaking in the United States Paul Glover, M.F.A. Associate Professor of Communication Abstract This essay discusses documentary filmmaking in the United States and Great Britain throughout the 20 th century and into the 21 st century. Technological advancements have consistently improved filmmaking techniques, but they have also degraded the craft as the saturation of filmmakers influence quality control and the preservation of “cinema verite” or “truth in film.” This essay’s intention is not to decide which documentaries are truthful and good (there are too many to research) but rather discuss certain documentarians and the techniques they used in their storytelling methods. -
A Sheffield Hallam University Thesis
Faith in view: religion and pirituality in factual British television 2000-2009 DELLER, Ruth A. <http://orcid.org/0000-0003-4935-980X> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/5654/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/5654/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Sheffield ’ 1WD ^ | 102 070 948 0 REFERENCE ProQuest Number: 10694429 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10694429 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Faith in View: Religion and Spirituality in Factual British Television 2000-2009. Ruth Anna Deller A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy. -
Viewing the World (Dfid)
Department for International DFID Development issues Viewing Department for International Development the The Department for International Development (DFID) is the British government department responsible World for promoting development and the reduction of poverty. The government elected in May 1997 increased Viewing the its commitment to development by strengthening the department and increasing its budget. The policy of the government was set out in the White Paper on International Development, published in A studyofBritishtelevisioncoveragedevelopingcountries November 1997. The central focus of the policy is a commitment to the internationally agreed target to halve the proportion of people living in extreme poverty by 2015, together with the associated targets including basic health care provision and universal access to primary education by the same date. DFID seeks to work in partnership with governments which are committed to the international targets, and also seeks to work with business, civil society and the research community to encourage progress which will help reduce poverty. We also work with multilateral institutions including the World Bank, UN agencies and the European Commission. The bulk of our assistance is concentrated on the poorest World countries in Asia and Sub-Saharan Africa. We are also contributing to poverty elimination in middle income countries, and helping the transition countries in Central and Eastern Europe to enable the widest number of people to benefit from the process of change. As well as its headquarters in London and East Kilbride, DFID has offices in New Delhi, Bangkok, Nairobi, Harare, Kampala, Dar-Es-Salaam, Pretoria, Dhaka, Suva, Kathmandu and Bridgetown. In other parts of the world, DFID works through staff based in British Embassies and High Commissions. -
Michael Apted
49 UP A Film by Michael Apted 135 minutes, color & b/w, 2005, UK First Run Features 630 Ninth Avenue, Suite 1213 New York, NY 10036 (212) 243-0600/Fax (212) 989-7649 email: [email protected] www.firstrunfeatures.com SYNOPSIS 49 Up , the latest installment of Granada’s landmark documentary series, revisits the group of people whose lives have been documented since they were seven, to see where they are now as they approach their half century. The original Seven Up was broadcast in 1964 as a one-off World in Action Special featuring children who were selected from different backgrounds and social spheres to talk about their hopes and dreams for the future. As members of the generation who would be running the country by the year 2000, what did they think they would become? Inspired by World in Action founder Tim Hewat’s passionate interest in both the Jesuit saying “Give me the child until he is seven and I will show you the man” and the rigid class system of 1960s Britain, Seven Up set out to discover whether or not the children’s lives were pre-determined by their backgrounds. The result was ground-breaking television – the very first example of a program recording real people living real lives – and the follow-up films have won an array of awards. Director Michael Apted, who has since moved to Hollywood to direct films including Gorky Park , The Coal Miner’s Daughter , The World Is Not Enough and Gorillas in the Mist , has returned every seven years to chart the children’s progress through life. -
Why Documentaries Matter Recognised As an Innovative Cultural Form
RISJ CHALLENGES CHALLENGES Documentaries have for many decades inhabited the schedules of public Why Documentaries Matter Why broadcasters. They have chronicled the lives and institutions of western democracies. In the past two decades, however, documentaries have become Why Documentaries Matter recognised as an innovative cultural form. Instead of being exclusively funded by television channels, documentaries receive money from a number of sources, including film funds, private investors and foundations. Rather than observing, documentaries are now thought capable of changing the world. Is this what they really do? How do we define a documentary? What does it mean to be the ‘author’ of a film? Nick Fraser has been editor of the BBC’s Storyville series since 1997; here he looks at the history of documentaries, showing how definitions of documentaries have changed – and how fragile is their funding. If we want good documentaries, he concludes, we have to find ways of encouraging their creators. “Nick Fraser writes about documentaries with unique authority. Not only has he made some good ’uns, he has commissioned more than practically anyone else on earth (for the BBC’s Storyville) and - as this book shows - he Nick Fraser has watched docs from their earliest days. His ideas on what the growth of the web and the decline of public service broadcasters mean for doc-makers are informed, imaginative and challenging.” Brian Lapping Chairman and Executive Producer, Brook Lapping “The rise of documentaries over the past two decades owes more to Nick Fraser than to any other single person. For so many of us who make non-fiction films, Nick’s peerless brand of tough love and mischievous curiosity have inspired us to aim higher as we try to promote greater understanding of the major events and issues of our time.” Eugene Jarecki Documentary film maker “This expert lament is beautifully written. -
1 "Documentary Films" an Entry in the Encylcopedia of International Media
1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening. -
HBO and the AIDS Epidemic Shayne Pepper Northeastern Illinois University, [email protected]
Northeastern Illinois University NEIU Digital Commons Communication, Media and Theatre Faculty Communication, Media and Theatre Publications 2014 Subscribing to Governmental Rationality: HBO and the AIDS Epidemic Shayne Pepper Northeastern Illinois University, [email protected] Follow this and additional works at: https://neiudc.neiu.edu/cmt-pub Part of the Film and Media Studies Commons, and the Television Commons Recommended Citation Pepper, Shayne, "Subscribing to Governmental Rationality: HBO and the AIDS Epidemic" (2014). Communication, Media and Theatre Faculty Publications. 6. https://neiudc.neiu.edu/cmt-pub/6 This Article is brought to you for free and open access by the Communication, Media and Theatre at NEIU Digital Commons. It has been accepted for inclusion in Communication, Media and Theatre Faculty Publications by an authorized administrator of NEIU Digital Commons. For more information, please contact [email protected],[email protected],[email protected]. Dr. Shayne Pepper 1 Department of Communication, Media and Theatre Northeastern Illinois University Subscribing to Governmental Rationality: HBO and the AIDS Epidemic By October of 1987, approximately 20,000 people had died of AIDS in the United States, and nearly 36,000 had been diagnosed with HIV/AIDS.1 With this public health crisis quickly reaching epidemic proportions, U.S. Surgeon General Dr. C. Everett Koop directly faced a television camera to reassure a frightened public. He answered questions candidly and discussed how HIV is contracted, what sort of practices increase risk, and the steps that one may take to prevent contracting the virus. This was not a live broadcast to the entire nation via one of the major American broadcast networks, a documentary for PBS, or even a federally funded educational video for public health departments or schools. -
John Birt's Mactaggart Lecture 2005
John Birt's MacTaggart Lecture 2005 When Dawn unexpectedly invited me to give this 30th Anniversary lecture my immediate instinct quite honestly was to refuse - despite her formidable back-you-up-against-the-wall-you-can't-say-no-to-me powers of persuasion. My head is somewhere else now, I thought. Anyway, when the Bishop retires he should leave the Diocese. My presence will simply inflame old hostilities. But I forced myself to take a day or two to reflect. And I changed my mind. Truth to tell, I devoted the bulk of my life to this industry. I care about it deeply and passionately. And I stand before you tonight - one of the few MacTaggart lecturers ever to be eligible for a free bus pass - because I finally realised I really did want to talk to you - the people who drive and power this great industry - about a subject that increasingly sets me alight - the looming, intensifying threat to the UK's extraordinarily successful tradition of public service broadcasting. This will be my subject tonight. The health warning is that I speak purely in a personal capacity. Homecoming Now I'm here, I must say it is good to be back. I first immersed myself in this cauldron at its very inception, when there were only three television channels. And I've been here most years since, until I retired. The Festival was the brainchild of Gus Macdonald, a former shipyard activist and visionary. He and I had been joint editors of World in Action in our 20s - he still looking like a sinewy industrial worker, me with hair heading for my shoulders. -
A Guide to US-Japan Documentary Coproduction
A Guide to US-Japan Documentary Coproduction (Hard copies of the following booklet are available upon request to the US CULCON secretariat at the contact information listed under the main menu) ACKNOWLEDGMENTS We would like to thank Michael Berger, who reported on the final CPB-NHK seminar and pulled together materials from three previous seminars to prepare this guide. Thanks to Sosuke Yasuma of the NHK Communications Training Institute and Leo Eaton, Executive Producer, InCA East for the inspirational manner in which they moderated the four seminars. Our appreciation to Beth Mastin, whose work on legal issues from the report of the second seminar is included in the appendix of this guide. Thanks to David Davis, Eric Gangloff, Burnill Clark and Leo Eaton who provided additional input and advice during the editing process. Our thanks, too, to Carol Crandall and Elizabeth Levenson for their expertise in formatting the final product. This guide has been prepared with funding from the Corporation for Public Broadcasting (CPB) and the U.S. panel of CULCON (U.S.-Japan Conference on Cultural and Educational Interchange).* This guide is based on reports of four U.S./Japan Producer seminars jointly supported by CPB and NHK/CTI and the U.S. CULCON initiative to improve media cooperation between Japan and the United States. Editors Meg Villarreal, CPB Pamela Fields, CULCON May, 1995 *CULCON is a binational advisory panel to the governments of the United States and Japan for improvement of cultural and educational relations. CPB is a private non-profit corporation that oversees the distribution of the annual Federal contribution to the national public broadcasting system. -
The BBC and Disaster Films: from Education to Entertainment Georges Fournier
The BBC and Disaster Films: From Education to Entertainment Georges Fournier To cite this version: Georges Fournier. The BBC and Disaster Films: From Education to Entertainment. InMedia : the French Journal of Media and Media Representations in the English-Speaking World, Center for Re- search on the English-Speaking World (CREW), 2019. hal-02468020 HAL Id: hal-02468020 https://hal.archives-ouvertes.fr/hal-02468020 Submitted on 5 Feb 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. InMedia The French Journal of Media Studies 7.2. | 2019 Documentary and Entertainment The BBC and Disaster Films: From Education to Entertainment Georges Fournier Electronic version URL: http://journals.openedition.org/inmedia/1766 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Printed version Date of publication: 15 December 2019 Electronic reference Georges Fournier, « The BBC and Disaster Films: From Education to Entertainment », InMedia [Online], 7.2. | 2019, Online since 02 December 2019, connection on 19 December 2019. URL : http:// journals.openedition.org/inmedia/1766 This text was automatically generated on 19 December 2019. © InMedia The BBC and Disaster Films: From Education to Entertainment 1 The BBC and Disaster Films: From Education to Entertainment Georges Fournier Introduction 1 The early years of the twenty-first century witnessed the production of TV films based on disaster scenarios, films both tragic in their denouement and anticipatory in their intentions.