DOCSLIB.ORG

Documentary in a Multiplatform Context Inge Ejbye Sørensen

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Documentary in a Multiplatform Context Inge Ejbye Sørensen Documentary in a Multiplatform Context Inge Ejbye Sørensen To cite this version: Inge Ejbye Sørensen. Documentary in a Multiplatform Context. Art and art history. University of Copenhagen. Faculty of Humanities, 2013. English. tel-00797160 HAL Id: tel-00797160 https://tel.archives-ouvertes.fr/tel-00797160 Submitted on 5 Mar 2013 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. FACULTY OF HUMANITIE S UNIVERSITY OF COPENH AGEN Ph.D. thesis Inge Ejbye Sørensen Documentary in a Multiplatform Context Academic advisor: Professor Ib Bondebjerg Submitted: 04/12/12 Institutnavn: Institute for Film and Media Name of department: Department of Media, Cognition and Communication Author: Inge Ejbye Sørensen Titel og evt. undertitel: Documentary in a Multiplatform Context Title / Subtitle: Documentary in a Multiplatform Context Subject description: Documentary in a Multiplatform Context Academic advisor: Ib Bondebjerg Submitted: 4th December 2012 Grade: Lorem ipsum in eternum 2 All the articles here are printed with written permission from publishers and editors: Article 1: Crowdsourcing and Outsourcing. The Impact of Online Funding and Distribution on the Documentary Film Industry in the UK. In Media, Culture & Society 34(6) (2012) 726– 743. Article 2: Channels as Content Curators. Multiplatform Strategies for Documentary Film and Factual Content in British Public Service Broadcasting. (In review). Article 3: Newsjacking the Media: Video Ambushing and AV Astroturfing. In Howley, K. (Ed.) (forthcoming 2013) Media Interventions. London: Peter Lang. Article 4: Documentary at Play. Paper presented at the conference New Documentary Formats, the Department of Film & Media, Copenhagen University. March 30th 2012. (Article co-written with Anne Mette Thorhauge.) 3 Acknowledgements This Ph.D. project was carried out at the department of Media, Cognition and Communication at Copenhagen University and funded through a scholarship from FMKJ. I would like to thank all my colleagues from these institutions and organisations for their help, comments and feedback on the project along the way. First and foremost I would like to give a huge and warm thanks to my supervisor Professor Ib Bondebjerg, without whom this project simply would not have happened. I am deeply grateful for his support, encouragement and wisdom throughout the development and the writing of this thesis. Thank you, Ib, for contributing to, expanding on, and inspiring my research interests, and for making this process productive and pleasurable. A warm thank also to Professor Klaus Bruhn Jensen for reading through the sections that deal with the methodology and research design of this project. I have been involved in many networks, collaborations and projects and have been grateful for the inspiring sessions, courses and symposiums at Kulturens Medialisering, Creative Industries, Media Monday and FMKJ. I would like to thank Professor Anne Jerslev for involving me in the organisation of the symposium Looking for Reality – Looking at Reality, and to Professor Ib Bondebjerg and Professor Klaus Bruhn Jensen for including me in the writing of Clips – En Medie analyse. I am deeply grateful to the interviewees who spared me their time and thoughts and thus provided the raw material for this thesis. Also I would like to thank the editors of Kosmorama, Media Culture & Society, and seminar.net and the anthologies, Media Interventions and Digital Ethos who gave me the opportunity to publish in their journals and anthologies. A massive thanks to the many anonymous peer reviewers whose comments and suggestions have so improved, sharpened and matured my writing, thinking and publishing. I hope that one day you will make yourself known so I can thank you in person. A big thanks to Anne Mette Thorhauge the co-writer of one of the articles in this thesis, as well as my co-editors at of the journal, Audiovisual Thinking, Sanna Martilla, Oranit Klein Shagir, Petri Kola and Thommy Eriksson. I would also like to thank the advisory broad who backed up the journal: Professor William Urrichio, Professor Lily Diaz, Professor John T. Caldwell, Senior Lecturer Paul Kerr and Professor Ib Bondebjerg. I am very grateful to Graeme Burnett, David Griffith and Cynan Jones for help with transcriptions, as well as for proofing and offering suggestions to how to improve my Dangelsk. I am likewise indebted to Erik Schwägermann who brought back my Endnote library when I thought all was lost. I would like to thank Lisbeth Frølunde, Kirsten Simonsen, Cecilie Givskov, Esther Wellejus and Marie Louise Muff for good discussions and places to stay. Also a warm and loving thanks to my other friends and family, especially my parents, Kai and Kirsten Sørensen, siblings Erik, Kiki and Anni and nephews Rasmus, Emil and Malte. Most of all I am infinitely grateful for and to my husband and daughters, David, Billie and Ava Griffith. Your support, patience and sense of humour made this project possible. 4 Contents INTRODUCTION - DOCUMENTARY IN A MULTIPLATFORM WORLD 9 Analytical focus - Why, when and where 11 Why documentary? 11 Time frame 12 Geographical orientation 13 PART 1 - THE PROBLEM OF NOW AND THE NEED FOR A VARIETY OF APPROACHES 15 1 The structure 17 2 Thinking about multiplatform content and contexts 20 Literature overview 21 (Multiplatform) television theory and production studies 21 Documentary theory 24 Digitisation and the multiplatform mediascape 27 New channels, platforms, production technology, distribution and funding forms 27 Technology, creativity and industry in the networked world 29 Institutions in the multiplatform mediascape - broadcasting brands and brands broadcasting 31 The TV networks in the UK 32 Public Service Television networks - BBC and Channel 4 32 Commissioning statistics, structures and strategies of the UK networks 33 Changes to commissioning structure of the BBC and Channel 4 34 Public service media, IPTV and VOD 35 Policies and power of public service media 38 Privately owned and commercially funded TV and IPTV 39 Cable, Sky, Freeview and IPTV 39 Social network sites 40 Social Media 40 Online video sharing platforms 41 The social and commercial values of audiovisual content on the internet 43 The wealth of networks 43 Participatory culture as business plan 45 Second shift aesthetics 47 Second shift aesthetics in action - Transmedia storytelling, 360, verticals and two-screen programming 48 Participatory culture as business plan 51 Documentary on multiple platforms 52 Multiplatform documentary content, its users and uses 53 Documentary viewers, viewsers, users, produsers, prosumers, players, receivers, gamers and audiences 53 Multiplatform and interactive documentaries 55 Digital documentary aesthetics 58 New forms and expressions, old genres 60 Knowledge mediated through games and alternative reality games (ARGs) 61 The democratic potential of digital documentary 62 Note on digital divides 63 5 Deliberation on theoretical framework 64 3 Research design - Methods and methodologies 65 Documentary films as case studies 67 Methods of industry-level studies 68 Directives and reports from public bodies 68 Trade and industry publications 68 Quantitative data - statistics and viewing figures 68 Qualitative data 69 Interviews, statements at industry events and quotes in press 69 Interviews with the documentary industry professionals 69 Interviews - the questions 70 Research sample - the interviewees 70 Ethical considerations and consent 71 Deliberation on Methods and Methodological choices 72 Generalisation or external validity of sample 72 Construct validity 74 Reliability 75 Reliability of others 75 Discourse analysis in production studies 75 Reliability of self 77 Participant-observation and observational participants - industry access, knowledge and know how 78 Concluding remarks on research design 79 PART 2 – THE ARTICLES 80 Article 1 Crowdsourcing and Outsourcing. The Impact of Online Funding and Distribution on the Documentary Film Industry in the UK 81 Abstract 81 Keywords 81 Crowdsourcing and Outsourcing. The Impact of Online Funding and Distribution on the Documentary Film Industry in the UK 82 Structure and method 83 Theories and practices 84 Benkler and Bourdieu 85 Documentary budgets in decline? 86 Crowdsourcing and outsourcing 91 Distribution 91 Production funding 92 Crowdfunding 93 Crowd investment 93 Perspectives on online funding and distribution 94 Editorial control and rights to the film 94 Crowdsourcing as community building and promotion 95 Online financing: a certain kind of documentary 97 The broadcasters - Outsourcing production and risk 98 Conclusion 99 Cited interviews 100 References 100 Article 2 Channels as Content Curators. Multiplatform Strategies for Documentary Film and Factual Content in British Public Service Broadcasting 103 6 Keywords 103 Introduction 104 Methods and rationale 105 From commissioners and creators of programmes to curators of content 106 New documentary portals and players online 108 TV channels and their multiplatform theories and strategies 110 Channel 4 – meeting
Load more

Recommended publications
  • THE DOCUMENTARY IMAGINATION an Investigation by Video Practice Into the Performative Application of Documentary Film in Scholarship
    THE DOCUMENTARY IMAGINATION An investigation by video practice into the performative application of documentary film in scholarship Trevor William Hearing A thesis submitted in partial fulfilment of the requirements of Bournemouth University for the degree of Doctor of Philosophy May 2015 Bournemouth University This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and due acknowledgement must always be made of the use of any material contained in, or derived from, this thesis. II ABSTRACT THE DOCUMENTARY IMAGINATION An investigation by video practice into the performative application of documentary film in scholarship The aim of the research has been to discover new ways in which documentary film might be developed as a performative academic research tool. In reviewing the literature I have acknowledged the well-established use of observational documentary film making in ethnography and visual anthropology underpinned by a positivist epistemology, but I suggest there are forms of reportage in literary and dramatic traditions as well as film that are more relevant to the possibility of an auto-ethnographic approach which applies documentary film in an evocative context. I have examined the newly emerging field of Performative Social Science and the "new subjectivity" evident in documentary film to investigate emerging opportunities to research and disseminate scholarly knowledge employing reflective documentary film methods in place of, or alongside, text. This inquiry has prompted me to consider the history of the creation and transmission of scholarship. The research methodology I have employed has been auto- ethnographic reflective film practice.
    [Show full text]
  • Anand Patwardhan
    bpÅ Bfp-IÄ kÔn-bnÃm kac-§Ä \S-¯n-- \ntcm[\-§fpsS Imes¯ s¡mïmWv tUmIyp-saâ-dn-IÄ sN¿p-¶-Xv. P\m-[n-]-Xys¯ kw_-Ôn-¨pÅ ]p- ¯³ ImgvN-¸m-Sp-IÄ ]¦p-sh-bv¡p¶, kmw 1 tUmIyp-saâdn kvIm-cnI cmjv{Sob CS-s]-S-ep-IÄ \nÀÆ-ln- ¡p¶ tUmIyp-saâ-dn-IÄ¡v F§s\ Iq¨p- ImgvN-IÄ hn-e-§nSmw, F§-s\-sbÃmw \ntcm[n-¡m- sa-¶pÅ At\z-j-W-§-fmWv `c-W-IqSw hn sI tPmk^v \S-¯n-s¡m-ïn-cn-¡p-¶-Xv. hnaÀi-\-§Ä D ¶-bn-¡p-¶, P\-§sf cmjv{So-b-ambn Nn´n- tUmIypsaâ-dn-IÄ Pohn-X-bm-YmÀ°y- Iyp-saâdnIÄ kmwkvImcn-I-hpw cmjv{So-b- ¡phm³ t{]cn-¸n-¡p¶ tUmIyp-saâ-dn-IÄ §Ä¡p-t\sc At\z-j-Wm-ß-I-ambn hp-amb \ne-]m-Sp-I-fn-te¡v amdp-Ibpïm-bn. `c-W-Iq-Ss¯ ZpÀ_-e-s¸-Sp-¯p-sa-¶pÅ k©-cn-¡p¶ Hcp am[y-a-am-Wv. A[n-Im-cs¯ Ah a\p-jy-sc A]-c-·m-cm-¡p¶, hÀ¤o-b- `bamWv CXnsâ ASn-Øm-\w. tKm{X-hÀ¤- Akz-Ø-X-s¸-Sp-¯p-¶Xpw A[n-Im-c--¯n-s\ h-ev¡-cn-¡p-¶-, ln-µp-Xz`-c-W-Iq-S-¯nsâ ¡m-cpsS {]iv\-§Ä, \À½-Zm-{]iv\w, Bß- -Xn-cmb \ne-]m-Sp-IÄ kzoI-cn-¡p-¶Xpw A- \ne-]m--Sp-IÄs¡-Xncmb hnaÀi-\-§Ä D l-Xy-sNbvX IÀj-I-cpsS {]iv\§Ä, k{am- [n-Im-cn-Isf shÃp-hn-fn-¡p-¶Xpw Ah-cpsS ¶-bn-¡p-Ibpw sNbvXp.
    [Show full text]
  • FACTUAL CATALOGUE 2020-2021 Including
    HAT TRICK INTERNATIONAL FACTUAL CATALOGUE 2020-2021 Including... FACTUAL CATALOGUE CONTENTS FACTUAL CATALOGUE CONTENTS FACTUAL ENTERTAINMENT SECRETS OF YOUR SUPERMARKET FOOD 11 RIVER COTTAGE KEY CONTACTS TALKING ANIMALS: TALES FROM THE ZOO 17 AMAZING SPACES DENMARK 20 THE BALMORAL HOTEL: AN EXTRAORDINARY YEAR 25 A COOK ON THE WILD SIDE 38 SARAH TONG, Director of Sales AMISH: WORLD’S SQUAREST TEENAGERS 2 THE BIG BREAD EXPERIMENT 26 HUGH’S 3 GOOD THINGS: BEST BITES 38 Australia, New Zealand, Global SVOD THE BIG C & ME 13 ATLANTIC EDGE 16 HUGH’S THREE HUNGRY BOYS - SERIES 1 39 Email: [email protected] A VERY BRITISH HOTEL CHAIN: INSIDE BEST WESTERN 24 THE DETONATORS 6 HUGH’S THREE HUNGRY BOYS - SERIES 2 39 Tel: +44 (0)20 7184 7710 A YEAR ON THE FARM 16 THE GREAT BRITISH DIG: HISTORY IN YOUR BACK GARDEN 22 RIVER COTTAGE AUSTRALIA 39 BANGKOK AIRPORT 24 THE GREAT BRITISH GARDEN REVIVAL 18 RIVER COTTAGE BITES 38 BRADFORD: CITY OF DREAMS 8 THE LADYKILLERS: PEST DETECTIVES 16 RIVER COTTAGE BITES: BEST BITES 38 JONATHAN SOUTH, Senior Sales Executive BREAKING DAD 5 THE LAST MINERS 2 RIVER COTTAGE CATALOGUE 1999-2013 40-41 Canada, Latin America, Portugal, Spain, USA BRITISH GARDENS IN TIME 18 THE MILLIONAIRES’ HOLIDAY CLUB 24 Email: [email protected] BROKE 9 THE REAL MAN’S ROAD TRIP: SEAN AND JON GO WEST 5 FACTUAL / SPECIALS Tel: +44 (0)20 7184 7771 CABINS IN THE WILD WITH DICK STRAWBRIDGE 19 THE ROMANIANS ARE COMING 9 CELEBRITY TRAWLERMEN: ALL AT SEA 6 THE YEAR WITH THE TRIBE, A TASTE OF THE YORKSHIRE DALES 42 ELFYN MORRIS, Senior Sales Executive
    [Show full text]
  • DOCUMENT RESUME Proceedings of the Annual Meeting of The
    DOCUMENT RESUME ED 415 540 CS 509 665 TITLE Proceedings of the Annual Meeting of the Association for Education in Journalism and Mass Communication (80th, Chicago, Illinois, July 30-August 2, 1997): Media Management and Economics. INSTITUTION Association for Education in Journalism and Mass Communication. PUB DATE 1997-07-00 NOTE 315p.; For other sections of these Proceedings, see CS 509 657-676. PUB TYPE Collected Works Proceedings (021) Reports Research (143) EDRS PRICE MF01/PC13 Plus Postage. DESCRIPTORS Case Studies; Childrens Literature; *Economic Factors; Journalism; *Mass Media Role; Media Research; News Media; *Newspapers; *Publishing Industry; *Television; World War II IDENTIFIERS High Definition Television; Indiana; Journalists; Kentucky; Market Research; *Media Management; Stock Market ABSTRACT The Media Management and Economics section of the Proceedings contains the following 14 papers: "The Case Method and Telecommunication Management Education: A Classroom Trial" (Anne Hoag, Ron Rizzuto, and Rex Martin); "It's a Small Publishing World after All: Media Monopolization of the Children's Book Market" (James L. McQuivey and Megan K. McQuivey); "The National Program Service: A New Beginning?" (Matt Jackson); "State Influence on Public Television: A Case Study of Indiana and Kentucky" (Matt Jackson); "Do Employee Ethical Beliefs Affect Advertising Clearance Decisions at Commercial Television Stations?" (Jan LeBlanc Wicks and Avery Abernethy); "Job Satisfaction among Journalists at Daily Newspapers: Does Size of Organization Make
    [Show full text]
  • Working Paper
    Working Paper Optimal Prime-Time Television Network Scheduling Srinivas K. Reddy Jay E. Aronson Antonie Stam WP-95-084 August 1995 IVIIASA International Institute for Applied Systems Analysis A-2361 Laxenburg Austria kd: Telephone: +43 2236 807 Fax: +43 2236 71313 E-Mail: [email protected] Optimal Prime-Time Television Network Scheduling Srinivas K. Reddy Jay E. Aronson Antonie Stam WP-95-084 August 1995 Working Papers are interim reports on work of the International Institute for Applied Systems Analysis and have received only limited review. Views or opinions expressed herein do not necessarily represent those of the Institute, its National Member Organizations, or other organizations supporting the work. International Institute for Applied Systems Analysis A-2361 Laxenburg Austria VllASA.L A. ..MI. Telephone: +43 2236 807 Fax: +43 2236 71313 E-Mail: infoQiiasa.ac.at Foreword Many practical decision problems have more than one aspect with a high complexity. Current decision support methodologies do not provide standard tools for handling such combined complexities. The present paper shows that it is really possible to find good approaches for such problems by treating the case of scheduling programs for a television network. In this scheduling problem one finds a combination of types of complexities which is quite common, namely, the basic process to be scheduled is complex, but also the preference structure is complex and the data related to the preference have to esti- mated. The paper demonstrates a balanced and practical approach for this combination of complexities. It is very likely that a similiar approach would work for several other problems.
    [Show full text]
  • Donal Macintyre on Work Life Balance
    Heartwww.heartofengland.nhs.uk SoulWinter 2011 Your award winning & members’ magazine Pathology investment update New high blood pressure treatment Top doc on twitter Investigative reporter Donal MacIntyre on work life balance Community CIPR Multi-million Trust health fair Award facelift for Charity emergency launch success winners department p2 p5 p6 p11 Birmingham Heartlands - Solihull - Good Hope - Birmingham Chest Clinic - Solihull Community Services TRUST NEWS A note from the membership team... Welcome to the winter news and developments feedback on this edition, edition of the Heart of taking place within we would love to hear England NHS Foundation our Hospitals and our from you. Simply call the Trust (HEFT) membership community services, as membership team on magazine. We hope you had well as a host of different (0121) 424 1218 or email a wonderful festive break health-related stories. the Trust membership and and a happy new year. If you would like to see community engagement Our first magazine for something in a future manager at sandra.white@ 2012 features the latest edition or would like to heartofengland.nhs.uk Community health fair success Drumming up interest in music Heartlands is hitting the right notes with local youngsters through a new music project launched after receiving a grant from the leading UK children’s charity, Youth Music. With locals attending in their workshops, musical Hundreds of under droves, a free family fun day entertainment and various privileged children and young held at Millennium Point in interactive health sessions people living close to the Birmingham was deemed an were also on offer.
    [Show full text]
  • Greening Wildlife Documentary’, in Libby Lester and Brett Hutchins (Eds) Environmental Conflict and the Media, New York: Peter Lang
    Morgan Richards (forthcoming 2013) ‘Greening Wildlife Documentary’, in Libby Lester and Brett Hutchins (eds) Environmental Conflict and the Media, New York: Peter Lang. GREENING WILDLIFE DOCUMENTARY Morgan Richards The loss of wilderness is a truth so sad, so overwhelming that, to reflect reality, it would need to be the subject of every wildlife film. That, of course, would be neither entertaining nor ultimately dramatic. So it seems that as filmmakers we are doomed either to fail our audience or fail our cause. — Stephen Mills (1997) Five years before the BBC’s Frozen Planet was first broadcast in 2011, Sir David Attenborough publically announced his belief in human-induced global warming. “My message is that the world is warming, and that it’s our fault,” he declared on the BBC’s Ten O’Clock News in May 2006. This was the first statement, both in the media and in his numerous wildlife series, in which he didn’t hedge his opinion, choosing to focus on slowly accruing scientific data rather than ruling definitively on the causes and likely environmental impacts of climate change. Frozen Planet, a seven-part landmark documentary series, produced by the BBC Natural History Unit and largely co-financed by the Discovery Channel, was heralded by many as Attenborough’s definitive take on climate change. It followed a string of big budget, multipart wildlife documentaries, known in the industry as landmarks1, which broke with convention to incorporate narratives on complex environmental issues such as habitat destruction, species extinction and atmospheric pollution. David Attenborough’s The State of the Planet (2000), a smaller three-part series, was the first wildlife documentary to deal comprehensively with environmental issues on a global scale.
    [Show full text]
  • LINEAR TV in the NON-LINEAR WORLD the Value of Linear
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Drexel Libraries E-Repository and Archives LINEAR TV IN THE NON-LINEAR WORLD The Value of Linear Scheduling Amidst the Proliferation of Non-Linear Platforms A Thesis Submitted to the Faculty of Drexel University by Carlo Angelo Mandala Hernandez in partial fulfillment of the requirements for the degree of Master of Science in Television Management March 2017 © Copyright 2017 Carlo Angelo Mandala Hernandez. All Rights Reserved. ii Acknowledgments I would like to acknowledge and express my appreciation for the individuals and groups who helped to make this thesis a possibility, and who encouraged me to get this done. To my thesis adviser Phil Salas and program director Albert Tedesco, thank you for your guidance and for all the good words. To all the participants in this thesis, Jeff Bader, Dan Harrison, Kelly Kahl, Andy Kubitz, and Dennis Goggin, thank you for sharing your knowledge and experience. Without you, this research study would lack substance or would not have materialized at all. I would also like to extend my appreciation to those who helped me to reach out to network executives and set up interview schedules: Nancy Robinson, Anthony Maglio, Omar Litton, Mary Clark, Tamara Sobel and Elle Berry Johnson. I would like to thank the following for their insights, comments and suggestions: Elizabeth Allan-Harrington, Preston Beckman, Yvette Buono, Eric Cardinal, Perry Casciato, Michelle DeVylder, Larry Epstein, Kevin Levy, Kimberly Luce, Jim
    [Show full text]
  • Stranger Than Fiction
    stf_2007 23/08/2007 11:30 Page i Stranger Than Fiction Documentary Film Festival and Market 13th-16th September 2007 stf_2007 23/08/2007 11:30 Page ii Introduction It’s my great pleasure to welcome This year’s opening feature The of the films screening, as well as you to this year’s Stranger Than Undertaking stands out as one of the contributions from David Norris, Fiction Festival. This is the sixth most beautiful films to come out of Louis de Paor, Stephen Rea and year of the event, and the first Ireland in many years. Richard Boyd Barrett. without the indomitable Gráinne The feature-length documentary This is perhaps a golden age of Humphreys at the helm. With continues to thrive on the inter- documentary film, and for the four Gráinne’s departure, Irish Film national scene, and I have selected 14 days of Stranger Than Fiction, I’d Institute Director Mark Mulqueen films which I hope you will at turns encourage you to come to the IFI to decided to approach this year’s find provocative, entertaining, heart- meet the filmmakers, to partake in festival in a different way, opting to breaking, hilarious; and always, I the market, to engage in the discus- bring an independent film-maker on hope, deeply affecting. Truth is indeed sions, and to see the finest of docu- board as Festival Director. stranger that fiction, and documen- mentary films from Ireland as well as As a documentary-maker used to taries tap into humanity in all its from throughout the world. submitting films to such festivals, I vagaries in ways that drama can’t; was delighted to be asked to put witness the delightful and witty James Kelly together this event.
    [Show full text]
  • Wächter Der Wüste
    Präsentiert WÄCHTER DER WÜSTE - AUCH KLEINE HELDEN KOMMEN GANZ GROSS RAUS Von den Produzenten von „Unsere Erde“ Ein Film von James Honeyborne Erzählt von Rufus Beck Kinostart: 20. November 2008 PRESSEHEFT PRESSEBETREUUNG filmpresse meuser in good company PR GmbH gisela meuser Ariane Kraus (Geschäftsführerin) niddastr. 64 h Deike Stagge 60329 frankfurt Rankestraße 3 10789 Berlin Tel.: 069 / 40 58 04 – 0 Tel: 030 / 880 91 – 550 Fax: 069 / 40 58 04 - 13 Fax: 030 / 880 91 - 703 [email protected] [email protected] Über unsere Homepage www.centralfilm.de haben Sie die Möglichkeit, sich für die Presse- Lounge zu akkreditieren. Dort stehen Ihnen alle Pressematerialien, Fotos und viele weitere Informationen als Download zur Verfügung. 2 INHALTSVERZEICHNIS STAB, TECHNISCHE DATEN KURZINHALT, PRESSENOTIZ PRODUKTIONSNOTIZEN ÜBER ERDMÄNNCHEN DIE BBC NATURAL HISTORY UNIT DER STAB REGISSEUR JAMES HONEYBORNE PRODUZENT JOE OPPENHEIMER PRODUZENT TREVOR INGMAN KAMERAMANN BARRIE BRITTON KAMERAMANN MARK PAYNE GILL CUTTER JUSTIN KRISH TONMEISTER CHRIS WATSON KOMPONISTIN SARAH CLASS ERZÄHLER RUFUS BECK 3 STAB Regie James Honeyborne Produzent Joe Oppenheimer Trevor Ingman Kamera Barrie Britton Mark Payne Gill Ton Chris Watson Schnitt Justin Krish Musik Sarah Class TECHNISCHE DATEN Länge 83 Minuten Bildformat Cinemascope Tonformat Dolby Digital 4 KURZINHALT WÄCHTER DER WÜSTE dokumentiert in atemberaubenden Bildern das aufregende Leben einer Erdmännchen-Familie in der Kalahari-Wüste. Der Film erzählt von der Geburt des kleinen Erdmännchens Kolo, seinem Aufwachsen und den täglichen Herausforderungen in der Wüste. Kolo macht seine ersten Schritte in eine Welt voller Abenteuer und tödlicher Gefahren und lernt vom großen Bruder die entscheidenden Lektionen zum Überleben. Denn um in der Kalahari groß zu werden, muss man wachsam sein, seine Feinde kennen und auch während der Dürre genügend Nahrung finden.
    [Show full text]
  • SUPREME COURT of INDIA Page 1 of 10
    http://JUDIS.NIC.IN SUPREME COURT OF INDIA Page 1 of 10 CASE NO.: Appeal (civil) 613 of 2005 PETITIONER: Director General,Directorate General of Doordarshan & Ors. RESPONDENT: Anand Patwardhan & Anr. DATE OF JUDGMENT: 25/08/2006 BENCH: Dr. AR. Lakshmanan & Lokeshwar Singh Panta JUDGMENT: J U D G M E N T Dr. AR. Lakshmanan, J. The appellant in the present matter is Doordarshan who have decided not to telecast the documentary film made by the respondent titled "Father, son and Holy War". The respondent is a filmmaker. The respondent no.1 in 1995 submitted his documentary film, "Father, son and Holy War", to the appellant for telecast on National network Doordarshan. Respondent no.1 was to provide a U-matic Certificate for the same to be aired by Doordarshan. The documentary film was in two parts, the film dealt with social realities and issues such as patriarchy, violence, fundamentalism, suppression of women etc. Part-I was given 'U' Certificate and Part-II was given 'A' Certificate by the Censor Board. A few lines about the film and the producer:- Father, Son and Holy War is the third part of a trilogy of documentary films against communal violence that the author made from the mid 1980's to the mid 1990's. His two earlier films In Memory of Friends (1990) (on building communal peace in strife torn Punjab) and Ram Ke Naam/In the Name of God (1992) (on the Ayodhya crisis) looked at the question of class and caste. Both films won National Awards but both were rejected by Doordarshan on the grounds that they would create law and order problems.
    [Show full text]
  • A Quantitative Analysis of Red Button Television Content in the UK
    Pushing the button: A quantitative analysis of red button television content in the UK Submitted in partial fulfilment of the Requirements of the Degree of Doctor of Philosophy. July 2014 Andrew Fox 1 Table of Contents Abstract p. 8 Chapter 1: Introduction 1.1 Introduction p. 10 1.2 Technohype p. 11 1.3 Internet Television p. 13 1.4 Television and Interactivity p. 14 1.5 Research Aims p. 17 1.6 Field Interviews p. 18 1.7 Thesis Structure p. 18 Chapter 2: Theoretical framework and literature review 2.1 Introduction p. 20 2.2 Has the sociological position of television changed? p. 20 2.2.1 ‘The Death of Television’ p. 21 2.2.2 Convergence p. 23 2.2.3 Uncertain future p. 26 2.3 Is interactive television happening and if so why? p. 29 2.3.1 Institutional attitudes p. 29 2.3.2 Regulatory policy p. 33 2.4 What does interactivity mean for television? p. 38 2.4.1 Participatory experience p. 39 2.4.2 Individualistic experience p. 43 2.5 What does interactivity mean for television content? p. 46 2.5.1 Enhanced content p. 46 2.5.2 Freedom of choice p. 48 2 2.6 What does interactive television mean for the audience? p. 50 2.6.1 A more questioning audience p. 51 2.6.2 An everyday experience? p. 52 2.6.3 Choice means responsibility p. 55 2.7 What does interactive television actually offer? p. 57 2.7.1 Defining ‘interactivity’ p. 58 2.7.2 Forms of interactive TV p.
    [Show full text]