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Information and Communication Technologies: 11. Television World in History
Information and communication technologies: 11. Television world in history. Analog and digital. Metodický koncept k efektivní podpoře klíčových odborných kompetencí s využitím cizího jazyka ATCZ62 - CLIL jako výuková strategie na vysoké škole History of television in Czechoslovakia Pioneers: ● František Pilát - later post-war technical director of Barrandov Film Studio, himself built a television receiver ● Pilát was the first in Czechoslovakia to receive experimental Baird's "thirty-line" broadcast, spread in the early 1930s (1929- 1935) from Great Britain to the mid-wave of 261.5 meters. ●The most active pre-war pioneer of the television is dr. Jaroslav Šafránek, associate professor of experimental physics at Charles University in Prague ●In 1935 Šafránek built his own functioning television equipment, with which he later traveled to the Republic and presented him in public. History of television in Czechoslovakia The Ministry of Post and Telegraph refused to authorize Šafránek to broadcast television in the air. Šafranek´s equipment could only work in the laboratory and lecture halls. While Šafránek, radio amateurs and their interest organization, Czechoslovak Radio Broadcasting Corporation requested permission for experimental broadcasting of a mechanical low-line (30 line) television mainly serving radio amateurs, the Ministry of Post and Telegraph, which since 1934 closely watched developments abroad, wanted to provide frequencies for television broadcasting to some more developed Projects. He was guided by the principle - to wait, to study foreign facts and then to decide. In 1939, television research on the territory of former Czechoslovakia ended. (Threats to the Republic, Munich, and the Nazi occupation). At that time, Shafranek was working on a more advanced 240-line image decomposition device. -
The Science of Television. Television and Its Importance for the History of Health and Medicine Jessica Borge, Tricia Close-Koenig, Sandra Schnädelbach
Introduction: The Science of Television. Television and its Importance for the History of Health and Medicine Jessica Borge, Tricia Close-Koenig, Sandra Schnädelbach To cite this version: Jessica Borge, Tricia Close-Koenig, Sandra Schnädelbach. Introduction: The Science of Television. Television and its Importance for the History of Health and Medicine. Gesnerus, Schwabe Verlag Basel, 2019, 76 (2), pp.153-171. 10.24894/Gesn-en.2019.76008. hal-02885722 HAL Id: hal-02885722 https://hal.archives-ouvertes.fr/hal-02885722 Submitted on 30 Jun 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. Gesnerus 76/2 (2019) 153–171, DOI: 10.24894/Gesn-en.2019.76008 Introduction. The Science of Television: Television and its Importance for the History of Health and Medicine Jessica Borge, Tricia Close-Koenig, Sandra Schnädelbach* From the live transmission of daunting surgical operations and accounts of scandals about medicines in the 1950s and 1960s to participatory aerobic workouts and militant AIDS documentaries in the 1980s the interrelation- ship of the history of bodies and health on television and the history of tele- vision can be witnessed. A telling example of this is the US born aerobics movement as it was brought to TV in Europe, with shows such as Gym Tonic (from 1982) in France, Enorm in Form (from 1983) in Germany or the Green Goddess on BBC Breakfast Time (from 1983) in Great Britain. -
Unit 2 Setting
History of Television Broadcasting Unit 2 Unit-2: HISTORY OF TELEVISION BROAD- CASTING UNIT STRUCTURE 2.1 Learning Objectives 2.2 Introduction 2.3 Origin and Development of Television 2.4 Transmission of Television System 2.5 Broadcasting 2.6 Colour Television 2.7 Cable Television 2.8 Television News 2.9 Digital Television 2.10 High Definition Television 2.11 Let Us Sum Up 2.12 Further Reading 2.13 Answers to Check Your Progress 2.14 Model Questions 2.1 LEARNING OBJECTIVES After going through this unit, you will be able to - describe the evolution of television discuss the discoveries made by the pioneer of television inventors analyse the television technology development list the recent trend of Digital Television 2.2 INTRODUCTION In the previous unit we were introduced to the television medium, its features and its impact and reach. The unit also provides the distinctions between television and the audio medium. In this unit we shall discuss Electronic Media-Television 23 Unit 2 History of Television Broadcasting about the overview ofthe history of television, inventions, early technological development and the new trends in the television industry around the globe. 2.3 ORIGIN AND DEVELOPMENT OF TELEVISION Television has become one of the important parts of our everyday life. It is a general known fact that television is not only providing the news and information but it is also entertaining us with its variety of programme series and shows. A majority of home-makers cannot think about spending theirafternoon leisure time withoutthe dose of daily soap opera; a concerned citizen cannot think of skipping the prime time in news channel or a sports lover in India cannot miss a live cricket match. -
World Converter Model WC-01 User and Technical Manual
World Converter Model WC-01 User and Technical Manual Copyright 2008-10 Aurora Design LLC. Revision 1.8 1 January, 2010 All specifications subject to change www.tech-retro.com Introduction Introduction This manual covers the operation and technical aspects of the Aurora Design World Converter. This Converter is designed to accept any standard color NTSC, PAL or SECAM video signal and convert to one of many different output standards, both electronic and mechanical. Features • Compact, low power, surface mount design • Front panel 20 character / 2 line high contrast LCD and rotary encoders • Agile built-in RF Modulator: - Programmable between 28.5-880MHz - Supports positive/negative video and AM/FM audio modulation schemes - Preprogrammed with 31 RF Systems and over 800 channels - Custom User configurable RF System with up to 32 unique channels • Converter bypass mode for use as stand alone RF Modulator • Extremely stable output: +/- 3% levels, +/- 50ppm timing • Extremely accurate algorithms used for conversions: - Three line interpolation on all electronic standards - All internal calculations done to a minimum 14 bit precision • 10 bit professional grade video decoder • 2 high speed 12 bit video D/A’s for greater than 66dB dynamic range • 3 medium speed 12 bit video D/A’s for mechanical RGB output • 4 low speed 12 bit D/A’s for system control • 256Mb or 512Mb FLASH Image Memory for storing of custom images • 128Mb SDRAM holds eight 10 bit images with 63 mega-pixel/sec performance • 500K gate equivalent, 300Kb RAM FieldProgrammableGateArray -
HP0181 Nancy Thomas
Nancy Tbomas DRAFT Page 1 This recording was transcribed by funds from the AHRC-funded ‘History of Women in British Film and Television project, 1933-1989’, led by Dr Melanie Bell (Principal Investigator, University of Leeds) and Dr Vicky Ball (Co-Investigator, De Montfort University). (2015). BECTU History Project Interview no: 181 Interviewee: Nancy Thomas Interviewer: Norman Swallow/Alan Lawson [NB: Identities not clear] Duration: 02:24:07 The copyright of this recording is vested in the ACTT History Project. Nancy Thomas, television producer/director. Interviewer Norman Swallow. Recorded on the twenty-fifth of January 1991. Well, if you don’t mind, you know, when and where were you born? I was born in India in 1918. Where? I was born in a little place called Ranikhet, partly because, you know, pregnant mums from… my father was in the Indian Army and they were all moved into the hills, so I was born in the foothills of the Himalayas. And what about schooling? Well, I came home because my mother taught me to read and write and that was quite interesting, because I’m left-handed and she didn’t think that they’d let me write with my right hand, so she made me write with my right hand. And we had frightful rows, she said, terrible rows. But I was reading, you see, by about the age of four and was then sent home, brought home, when I was six and lodged with an aunt and cousins. So I was really brought up by my aunt and cousins in Berkhamsted, and I went to school at Berkhamsted School for Girls. -
TELEVISION and VIDEO PRESERVATION 1997: a Report on the Current State of American Television and Video Preservation Volume 1
ISBN: 0-8444-0946-4 [Note: This is a PDF version of the report, converted from an ASCII text version. It lacks footnote text and some of the tables. For more information, please contact Steve Leggett via email at "[email protected]"] TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1 October 1997 REPORT OF THE LIBRARIAN OF CONGRESS TELEVISION AND VIDEO PRESERVATION 1997 A Report on the Current State of American Television and Video Preservation Volume 1: Report Library of Congress Washington, D.C. October 1997 Library of Congress Cataloging-in-Publication Data Television and video preservation 1997: A report on the current state of American television and video preservation: report of the Librarian of Congress. p. cm. þThis report was written by William T. Murphy, assigned to the Library of Congress under an inter-agency agreement with the National Archives and Records Administration, effective October 1, 1995 to November 15, 1996"--T.p. verso. þSeptember 1997." Contents: v. 1. Report - ISBN 0-8444-0946-4 1. Television film--Preservation--United States. 2. Video tapes--Preservation--United States. I. Murphy, William Thomas II. Library of Congress. TR886.3 .T45 1997 778.59'7'0973--dc 21 97-31530 CIP Table of Contents List of Figures . Acknowledgements. Preface by James H. Billington, The Librarian of Congress . Executive Summary . 1. Introduction A. Origins of Study . B. Scope of Study . C. Fact-finding Process . D. Urgency. E. Earlier Efforts to Preserve Television . F. Major Issues . 2. The Materials and Their Preservation Needs A. -
Downloaded from Manchesterhive.Com at 09/28/2021 04:33:06PM Via Free Access
Film and the Festival of Britain sarah easen T F Britain, from 3 May to 30 September 1951, aimed to provide respite from the effects of World War II by celebrating the nation’s past achievements in the arts, industry and science, as well as looking hopefully to a future of progress and prosperity. It marked the halfway point of the century, a natural moment at which to take stock and examine advances in British society. The Director General of the Festival, Gerald Barry, promised ‘a year of fun, fantasy and colour’, an interlude of ‘fun and games’ after the long run of wartime austerity.1 Film was integral to the Festival of Britain. It related to the Festival’s three main areas of concern, the arts, industry and science. Britain’s role in international film culture had already been established by the growth of the British documentary movement since the 1930s. The Festival of Britain therefore seemed a natural place to demonstrate the fruits of British film production. The Festival of Britain site in London on the South Bank featured a purpose-built film theatre, the Telekinema, for big-screen public television broadcasts and the showing of specially commissioned Festival films.2 The Television Pavilion also displayed a brief history of the new medium. Cinemas around the nation featured seasons of classic British film- making. The exhibitions themselves also used film as a tool for expressing concepts and processes that could not easily be displayed. So film was not only a medium for the exposition of ideas within the Festival of Britain exhibitions, it also contributed to the entertainment on offer. -
Revue Française De Civilisation Britannique, XXVI-1 | 2021 BBC Drama and the Politics of Production 1955-66 2
Revue Française de Civilisation Britannique French Journal of British Studies XXVI-1 | 2021 The BBC and Public Service Broadcasting in the Twentieth Century BBC Drama and the Politics of Production 1955-66 Les Fictions à la BBC et la politique de la production (1955-1966) Joy Leman Electronic version URL: http://journals.openedition.org/rfcb/7642 DOI: 10.4000/rfcb.7642 ISSN: 2429-4373 Publisher CRECIB - Centre de recherche et d'études en civilisation britannique Electronic reference Joy Leman, “BBC Drama and the Politics of Production 1955-66 ”, Revue Française de Civilisation Britannique [Online], XXVI-1 | 2021, Online since 05 December 2020, connection on 05 January 2021. URL: http://journals.openedition.org/rfcb/7642 ; DOI: https://doi.org/10.4000/rfcb.7642 This text was automatically generated on 5 January 2021. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. BBC Drama and the Politics of Production 1955-66 1 BBC Drama and the Politics of Production 1955-66 Les Fictions à la BBC et la politique de la production (1955-1966) Joy Leman Introduction 1 The British Broadcasting Corporation’s name suggests an institution encompassing a national entitlement, for every citizen. However, history shows an uneven development in terms of representation of certain groups, both inside and outside the organisation, a development linked also to changes in society. In this article I shall look at the BBC during the growth period of the 1950s and 1960s, focussing on interlinked issues of class and gender in employment, production processes, and representation. -
Inventing Television: Transnational Networks of Co-Operation and Rivalry, 1870-1936
Inventing Television: Transnational Networks of Co-operation and Rivalry, 1870-1936 A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy In the faculty of Life Sciences 2011 Paul Marshall Table of contents List of figures .............................................................................................................. 7 Chapter 2 .............................................................................................................. 7 Chapter 3 .............................................................................................................. 7 Chapter 4 .............................................................................................................. 8 Chapter 5 .............................................................................................................. 8 Chapter 6 .............................................................................................................. 9 List of tables ................................................................................................................ 9 Chapter 1 .............................................................................................................. 9 Chapter 2 .............................................................................................................. 9 Chapter 6 .............................................................................................................. 9 Abstract .................................................................................................................... -
Celluloid Television Culture the Specificity of Film on Television: The
ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. https://eprints.bbk.ac.uk/id/eprint/40025/ Version: Full Version Citation: Sexton, Max (2013) Celluloid Television Culture The Speci- ficity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email Celluloid Television Culture The Specificity of Film on Television: the Action-adventure Text as an Example of a Production and Textual Strategy, 1955 – 1978. Max Sexton A thesis submitted for the Degree of Doctor of Philosophy, Birkbeck, University of London, 2012. Declaration I hereby declare that the thesis presented by me for examination of the PhD degree is solely my own work, other than where I have clearly indicated. Birkbeck, University of London Abstract of Thesis (5ST) Notes for Candidate: 1. Type your abstract on the other side of this sheet. 2. Use single-spacing typing. Limit your abstract to one side of the sheet. 3. Please submit this copy of your abstract to the Research Student Unit, Birkbeck, University of London, Registry, Malet Street, London, WC1E 7HX, at the same time as you submit copies of your thesis. 4. This abstract will be forwarded to the University Library, which will send this sheet to the British Library and to ASLIB (Association of Special Libraries and Information Bureaux) for publication to Index to Theses . -
A Brief History of Television in India
Chapter-II A Brief History of Television in India 47 Chapter-II A Brief History of Television in India Television in India— a chronology of events Television came to India on September 15, 1959 with experimental transmission from Delhi. It was a modest beginning with a make shift studio, a low power transmitter and only 21 community television sets. All India Radio provided the engineering and programme professionals. A daily one-hour service with a news bulletin was started in 1965. In 1972 television services were extended to a second city—Mumbai. By 1975 television stations came up in Calcutta, Chennai, Srinagar, Amritsar and Lucknow. In 1975-76 the Satellite Instructional Television Experiment brought television programmes for people in 2400 villages in the most inaccessible of the least developed areas tlirough a satellite lent to India for one year. Doordarshan is a Public broadcast terrestrial television channel run by Prasar Bharati, a board formed by the Government of India. It is one of the largest broadcasting organizations in the world in terms of the infrastructure of studios and transmitters. Doordarshan had its beginning with the experimental telecast started in Delhi in September, 1959 with a small fransmitter and a makeshift studio. The regular daily transmission started in 1965 as a part of All India Radio. The television service was extended to a second city Mumbai in 1972. Till 1975, only seven cities were covered by Doordarshan and it remained 48 the only television channel in India. Television services were separated from Radio in 1976. Each office of All India Radio and Doordarshan were placed under the management of two separate Director Generals in New Delhi. -
Supplement to the London Gazette, 1 January, 1954
SUPPLEMENT TO THE LONDON GAZETTE, 1 JANUARY, 1954 CHANCERY OF THE ORDER OF SAINT Arthur Edwin TROTMAN, Esq., Colonial Agri- MICHAEL AND SAINT GEORGE. cultural Service, Member for Agriculture and Natural Resources, Tanganyika. \lst January, 1954. William VENNER, Esq., General Manager, The QUEEN has been graciously pleased to Sierra Leone Railway. give directions for the following appointments George Evan Cameron WISDOM, Esq., Colonial to the Most Distinguished Order of Saint Administrative Service, Resident Commis- Michael and Saint George: — sioner, Malacca, Federation of Malaya. To be Members 'of the Third Class, or Companions, of the said Most Distinguished Order :— CHANCERY OF THE ORDER OF SAINT Francis Jackson CARTER, Esq., C.B.E., J.P., MICHAEL AND SAINT GEORGE. Under Secretary and Clerk of the Executive Council, State of Tasmania. 1st January, 1954. The Honourable Francis Joseph CONDON, a The QUEEN has been graciously pleased to Member of the Legislative Council, State of give directions for the folio-wing promotions in, South Australia, for many years. and appointments to, the Most Distinguished Maurice Rupert METCALF, Esq., O.B.E., an Order of Saint Michael and Saint George: — Assistant Secretary in the Commonwealth Relations Office. To be a Member 'of the First Class, or Knight The Honourable Mr. Justice Ralph John Grand Cross, of the said Most Distinguished MORTON, O.B.E., M.C., Puisne Judge of the Order:— High Court, Southern Rhodesia. Sir John BALFOUR, K.C.M.G., Her Majesty's Ambassador Extraordinary and Pleni- potentiary in Madrid. CHANCERY OF THE ORDER OF SAINT To be Members of the Second Class, or MICHAEL AND SAINT GEORGE.