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.
the most persistent ‘structural holes’ in the digital network between refugees and the internet economy are connectivity gaps and a lack of viable digital payment services and ID-verification mechanisms. Brokerage becomes necessary even to acquire basic internet connectivity in restrictive refugee contexts. In Bangladesh, which hosted some 963,733 Rohingya refugees by 2022, the government had instructed operators to stop selling SIM cards to refugees in 2019
infrastructure to make their way across to safer places…. Refugees are able to rely on digital networks to both communicate with distant family members and locate the resources they need. Yet, those same tools are increasingly also used to exploit their vulnerabilities. For instance, the movement of refugees is facilitated by digital platforms provided by multinational corporations. But the design of those platforms is rarely catered
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
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
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.
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.
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
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
Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.