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This book explores how the television industry is adapting its
production culture and professional practises of scheduling to an
increasingly non-linear television paradigm, a testing ground where
different communicative tools are tried out in a volatile industry.
Based on four case studies the book argues that a new television
paradigm is being produced from within the multiplatform television
organisations themselves in order to adapt to changing viewer
habits and the tensions between digital and broadcast television.
Drawing on a unique genre and production studies approach that cuts
across the humanities and sociology in television studies, chapters
cover in-depth studies of: * The communicative changes to the
on-air schedule as a televisual text phenomenon in the digital era,
and how the conceptualisations of the audience are changing in
scheduling and curation for multiplatform portfolios * The changing
production culture of scheduling in companies for their
multiplatform portfolios * The dilemmas of curation in
multiplatform portfolios. Situated at the intersection of the
humanities and sociology in media production studies, this book
will be of key interest to scholars and students of television
studies, media production studies and cultural studies and to
researchers and media professionals and management in the
television industry.
This book explores how the television industry is adapting its
production culture and professional practises of scheduling to an
increasingly non-linear television paradigm, a testing ground where
different communicative tools are tried out in a volatile industry.
Based on four case studies the book argues that a new television
paradigm is being produced from within the multiplatform television
organisations themselves in order to adapt to changing viewer
habits and the tensions between digital and broadcast television.
Drawing on a unique genre and production studies approach that cuts
across the humanities and sociology in television studies, chapters
cover in-depth studies of: * The communicative changes to the
on-air schedule as a televisual text phenomenon in the digital era,
and how the conceptualisations of the audience are changing in
scheduling and curation for multiplatform portfolios * The changing
production culture of scheduling in companies for their
multiplatform portfolios * The dilemmas of curation in
multiplatform portfolios. Situated at the intersection of the
humanities and sociology in media production studies, this book
will be of key interest to scholars and students of television
studies, media production studies and cultural studies and to
researchers and media professionals and management in the
television industry.
Hvad er satire for en form for humor, og er det underholdning?
Hvordan har satiren udviklet sig i dansk tv og hvorfor? Hvorfor g r
tv-satiren grin med almindelige mennesker, og hvad blev der
egentlig af den politiske satire i dansk tv? Hvorfor bliver
tv-satiren n sten altid sendt p DR2? Det er nogle af de sp rgsm l,
som Dansk tv-satire. Underholdning med kant besvarer. Den belyser
og diskuterer tv-satirens programudvikling siden 1968, og den fremh
ver den danske tv-satires s rlige karakteristika. Den ser p,
hvordan tv-satiren er blevet produceret, og den beskriver og
modstiller to produktionskulturer, der har pr get dansk tv-satire
og dermed de programmer, seerne er blevet tilbudt. Bogen er det f
rste, st rre samlede bidrag om en dansk tv-satire. Den bygger p en
omfattende genreanalyse af den danske satiretradition i sp
ndingsfeltet mellem tradition og fornyelse. Den bygger desuden p
interviews med producenterne af tv-satiren, fra tekstforfattere og
komikere til redakt rer og kanalchefer. P den baggrund diskuteres
konsekvenserne af udviklingen for dansk public service-tv's
underholdningsprofil og de udfordringer, programtraditionen st r
overfor i et konkurrenceudsat mediemilj .
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