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A practical approach to working in multi-camera studios

This book is about producing video content with a multi-camera set-up. The principles apply whatever the form of distribution: digital network, Internet, mobile phone or 'other'. It is intended to be used alongside practical courses or modules, both in teaching institutions and in professional training environments. The book centres on Health and Safety in TV studios, which are potentially dangerous places. It gives a lot of key information about television studios and the people who work in them. The book focuses on exercises to practise some basic principles and shows how to build on these and develop proposals and projects. It goes into more detail on Drama, Music and Action, both in the context of student projects and in the professional world. The book explains detail of television aspect ratios; and a little about the meanings of Continuity. Since many multi-camera video productions use inserts shot on single camera, there are several references to single-camera shooting. The necessary elements in multi-camera production are: a vision mixer (switcher) for selecting the images to be recorded or transmitted; a Director co-ordinating the content; an assistant to keep track of timings and where the Director is in the script; and a Camera Operator for each camera, with a tally-light to show when the particular camera is on-shot.

Networked spectrality in Charlie Brooker’s 'Be Right Back’
Neal Kirk

dynamics of digital networks as they relate to conceptions of haunting. Thus, networked spectrality reads contemporary ghosts as intimately related to new media technologies and, as such, as a means of considering the relationship between emergent technologies and the experiences of death, grief, and remembrance. Accordingly, this chapter uses ‘Be Right

in The Gothic and death
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Roger Singleton-Turner

Cue and Cut is about producing video content with a multi-camera set-up. The principles apply whatever the form of distribution: digital network, Internet, mobile phone or ‘other’. It is intended to be used alongside practical courses or modules, both in teaching institutions and in professional training environments. Part I centres on Health and Safety in TV studios, which are potentially dangerous places. This is a primary concern and that is why it is given so much space early in this handbook. Part II gives a lot of key information about television

in Cue and Cut
A feminist media house reports from the hinterland
Disha Mullick

This chapter explores how Khabar Lahariya (KL), a digital news channel run by rural women journalists – mostly Dalit and Muslim – used the #MeToo moment to test the elasticity of an urban, privileged movement to encompass experiences of assault on women working in small towns and rural areas of north India. It locates #MeToo in a charged moment in India’s technological trajectory, as more and more of India’s rural population, whether or not they have access to food and housing, definitely have access to a mobile phone connection. Alongside shifting electoral politics, this also sets the stage for a significant change in the nature of gendered relationships and intimacies in the Indian hinterland. The KL reporters, as ‘lower’-caste women questioning power and overstepping their place, are at the receiving end of blatant sexual assault from colleagues, sources and officers in the police and administration. However, with their necessary familiarity with mobile technologies and digital networks, they also negotiate new spaces and relationships in their work, cultivating sources and colleagues at odd hours, on Whatsapp and Facebook, bending notions of sexual convention – based on age, caste, class, geography – out of shape. There is a pleasure and an agency in this that deeply affects their public and private lives. The chapter navigates how the MeToo mo(ve)ment serves to constrain these nascent disruptions, as it also works to visibilise the violence inherent in the everyday lives of rural women who overstep their boundaries.

in Intimacy and injury
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Shakespeare meets genre film
Kinga Földváry

The chapter presents the book’s main thesis, arguing for a genre-based interpretation of film adaptations of literary works and pointing out the advantages of such a method over the traditional fidelity-based approach. It reflects briefly on the historical development of genre studies, and on the absence of genre as a central element from both mainstream and more recent adaptation criticism, particularly Shakespeare on screen studies. Since 2010, Shakespeare adaptation research has turned increasingly towards new media and the destabilisation of several fundamental concepts, including film, adaptation, even Shakespeare, or the changes associated with the digitally networked participation characterising contemporary cultural production and consumption. The concept of the rhizome and its use in rhizomatic adaptation criticism is also considered; the applicability of the concept for the genre-based research exemplified by the volume is pointed out. The chapter, however, confirms its belief in the broad applicability of generic categories and encourages the use of this method of adaptation analysis for screen products based on non-Shakespearean literary sources as well. The final section of the chapter describes the criteria of selecting the films included in the volume and offers a brief overview of the book’s structure.

in Cowboy Hamlets and zombie Romeos
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Imagin(in)g the materiality of digital networks
Holger Pötzsch

reframing in the context of contemporary digital networks, the power-laden dynamics of which are epitomised in the increasingly ubiquitous technology of cloud computing. In the following, I interrogate how dynamics of capturing clouds in digital domains (in both possible meanings) interfere with borders and state power, and how they are resisted and rearticulated in and through contemporary works of art. Do digital networks and data clouds subvert state power and borders? Or do they, rather, reiterate and reinforce received structures of dominance by

in Border images, border narratives
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Ilaria Vanni

stickers and tarot cards, referenced popular culture in content and style, producing an ironic and playful representation of precarious conditions. Circulating in parades and in digital networks, these objects created new alliances among workers who were previously not politicised. Chapter 2 builds on this point, telling the story of the construction of a fictitious fashion designer to reveal the structural unsustainability of the fashion system, built on precarious work, knowledge and affects. Through the analysis of garments produced as part of this intervention

in Precarious objects
The rise of Nordic Gothic
Yvonne Leffler
and
Johan Höglund

of the millennium. Both Riget and King's US adaptation will be further discussed in Chapter 8 . The final few years of the twentieth century was also when what has been described as ‘new media’ began to enter homes and offices across the globe. New media includes digital, networked texts and other forms of interactive and performative culture, but is perhaps mostly associated with computer, console and, most recently, tablet and smart-phone gaming. These new media forms have quickly been invaded by Gothic. As Richard Rouse III ( 2009 ) has

in Nordic Gothic
James Johnson

vulnerabilities associated with cyberspace and digital networks more broadly are less likely to cause destabilizing first-strike incentives. See Thomas Rid, Cyber War Will Not Take Place (New York: Oxford University Press, 2013). 18 James S. Johnson, “The AI-Cyber Nexus: Implications for Military Escalation, Deterrence, and Strategic Stability,” Journal of Cyber Policy , 4, 3 (2019), pp. 442–460. 19 Patricia Lewis and Beyza Unal, Cybersecurity of Nuclear Weapons

in Artificial intelligence and the future of warfare
Considerations and consequences
Thomas Sutherland

utterly commonplace – even banal – to the extent that to critique it might seem pedantic. But in fact what we face is a discourse, especially in relation to the processes of globalisation, that takes flow to be a natural and unproblematic way of describing the 176 (In)formalising temporalities and mobilities of digital, networked capitalism. I wish to challenge this, demonstrating that flow is not simply a neutral category, but rather, is a historically contingent mode of representation and givenness. Luc Boltanski and Ève Chiapello (2007: 143) describe it as, ‘an

in Time for mapping