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This updated third edition of Studio Television Production and
Directing introduces readers to the basic fundamentals of studio
and control room production. Accessible and focused, readers of
this updated third edition will gain fluency in essential studio
terms and technology and acquire the necessary skills to make it in
the industry. This book is your back-to-the-basics guide to common
technology-including principles of directing, assistant directing,
technical directing, audio ops, the basics of studio lighting, an
introduction to set design, camera ops, floor directing, story
types (VO, VO/SOT, PKG), basic engineering, and more. Whether an
established professional or a student, this book provides readers
with the technical expertise to successfully coordinate live or
taped studio television today. In this new edition, author Andrew
Hicks Utterback offers an expanded glossary and new material on
visualization walls, alternative camera mounts, basic engineering,
and news narrative diagramming.
Introduces fundamentals of studio and control room production for
readers to gain fluency and acquire necessary skills to make it in
the industry. Draws on the author’s previous filmmaking
experience and long-standing academic career, resulting in an
accessible and focused book for professionals and students. Updates
to the previous edition includes an expanded glossary and coverage
of latest technologies and workflows for a comprehensive text.
Posthumanism in the Novels of Kurt Vonnegut: Matter That Complains
So re-examines the prevailing critical consensus that Kurt Vonnegut
was a humanist writer. While more difficult elements of his work
have often been the subject of scholarly attention, the tendency
amongst critics writing on Vonnegut is to disavow them, or to
subsume them within a liberal humanist framework. When Vonnegut's
work is read from a posthumanist perspective, however, the
productive paradoxes of his work are more fully realised. Drawing
on New Materialist, Eco-Critical and Systems Theory methodologies,
this book highlights posthumanist themes in six of Vonnegut's most
famous novels, and emphasises the ways in which Vonnegut troubles
human/non-human, natural/artificial, and material/discursive
hierarchical binaries
We can hear the universe! This was the triumphant proclamation at a
February 2016 press conference announcing that the Laser
Interferometer Gravity Observatory (LIGO) had detected a "transient
gravitational-wave signal." What LIGO heard in the morning hours of
September 14, 2015 was the vibration of cosmic forces unleashed
with mind-boggling power across a cosmic medium of equally
mind-boggling expansiveness: the transient ripple of two black
holes colliding more than a billion years ago. The confirmation of
gravitational waves sent tremors through the scientific community,
but the public imagination was more captivated by the sonic
translation of the cosmic signal, a sound detectable only through
an act of carefully attuned listening. As astrophysicist Szabolcs
Marka remarked, "Until this moment, we had our eyes on the sky and
we couldn't hear the music. The skies will never be the same."
Taking in hand this current "discovery" that we can listen to the
cosmos, Andrew Hicks argues that sound-and the harmonious
coordination of sounds, sources, and listeners-has always been an
integral part of the history of studying the cosmos. Composing the
World charts one constellation of musical metaphors, analogies, and
expressive modalities embedded within a late-ancient and medieval
cosmological discourse: that of a cosmos animated and choreographed
according to a specifically musical aesthetic. The specific
historical terrain of Hicks' discussion centers upon the world of
twelfth-century philosophy, and from there he offers a new
intellectual history of the role of harmony in medieval
cosmological discourse, a discourse which itself focused on the
reception and development of Platonism. Hicks illuminates how a
cosmological aesthetics based on the "music of the spheres" both
governed the moral, physical, and psychic equilibrium of the human,
and assured the coherence of the universe as a whole. With a rare
convergence of musicological, philosophical, and philological
rigor, Hicks presents a narrative tour through medieval cosmology
with reflections on important philosophical movements along the
way, raising connections to Cartesian dualism, Uexkull's
theoretical biology, and Deleuze and Guattari's musically inspired
language of milieus and (de)territorialization. Hicks ultimately
suggests that the models of musical cosmology popular in late
antiquity and the twelfth century are relevant to our modern
philosophical and scientific undertakings. Impeccably researched
and beautifully written, Composing the World will resonate with a
variety of readers, and it encourages us to rethink the role of
music and sound within our greater understanding of the universe.
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