For the past 100 years, television has become one of the key technologies to modern population. Not only does it have the ability to transform and adapt various domestic, national and cultural contexts, but have a seemingly infinite variety of programme genres, as well. What is more, it shares a quality with radio of being able to broadcast events to the public as they happen. This capacity is sometimes connected to television’s characteristic “liveness”. Television is at a crucial moment in its development. Transformation is the main characteristic of the contemporary field of television. Big changes and improvements of television’s technological hardware, increasing satellite services and analogue-to-digital broadcasting transitions are occurring. In addition, enormous home theatres and miniaturised communication devices, on which TV images can be received, grow in terms of technology. A big change for television is shifting from its traditional environment towards mobile devices and rather individual ways of reception. The options of what, where and how to watch are constantly increasing. The exact form of television in the future is still unpredictable. On the other hand, taking into account television’s constant transformation in its programming and delivery, we can conclude that TV will most likely never be stabilized as a cultural or technological form.
It is safe to assume that television will stay in one form or another. If one would try to understand the functionality of television as part of contemporary culture, its ongoing transformation would make it a challenging task. My analysis focuses on an aspect of television that remains a constant feature of the technology-liveness of television image. Our understanding of t...
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...tare vacantly at the TV camera. The scene is intentionally manipulated to be of interest and create movement. If liveness and televisiual surface would have lacked the latter matters, they would have been static and uninterrupted.
A key quality of the contemporary and early television is liveness. Even though the contemporary television is more evolved in terms of presenting an image which is making the scanned image of Stookie Bill to be a historical step in what will be the most technologically advanced era up until now, also it provides a lesson in terms of perspective usage. This paper has highlighted the fact that technology has evolved, thus the portrayal of liveness scenes became more explict and clear offering a new set of ways in which television images can produce liveness. For example: live footage, direct address and other mechanisms.
the relation of what is filmed and what truly is real. In an inspection of The Thin
“Alternatively it might be the case that an every day observation, some small ordinary event, which when isolated, framed in the camera and re-presented to the viewer, can take on a different and worthwhile quality.”
The camerawork in the show is very well done because it helps the audience understand the relationships between the characters, as well as helps draw the audience’s attention to important actio...
One of the mediums by which this cultural shift has continually happened is through television. Not only does culture affect choices made by those in the television industry, but popular series and talk shows, whether intentionally or not, name what culturally acceptable regarding many social issues. Television, TV for short, is referring to the telecommunication medium by which ideas are transmitted into moving pictures. The Television industry will be defined as the group of brains behind the creating process of a television show of any genre. Genres each have their own purpose and effect on the audience; talk shows mean to engage, while sitcoms, drams, mini-series, and television comedies are meant to entertain. Regardless of its intentions, each genre of TV has an affect on the people who internalize what they are watching.
Showing the cause and effects of the growth in the use of the television is the purpose of this piece. Individuals do not grasp the full extent of the different areas that the TV has the ability to reach and even manipulate. These “dirty” our sources of truth by perfectly formed propaganda that is absorbed into every area of our lives as a “true” sense of reality or what life should look like.
The formal characteristics of the work are crucial in their produced effect upon the audience. It is a four panel screen landscape, whose size of 7354 cubic meters is made referent in the title. Despite its monumental size, the work does not function as an oppressive weapon but rather a positive force, one that is able to free us from our inhibitions. Rist frequently experiments with the various ways in which video can be projected onto surfaces. Though she does not push the technical boundaries of the video medium medium, she nonetheless pushes the limits within video projection. Requiring seven different projectors to be linked seamlessly, her work is a technical achievement for this feat alone. A large circular couch occupies the center of the exhibition space. Its shape is meant to be reminiscent of the human iris, but also bring to mind the iris of the camera as well.
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
Director Max Ophüls is known for his distinctive smooth camera movements (Liang, 2011, p. 2). Frame mobility keeps the audience focused on the subject (Bordwell and Thompson, 2008, p. 203), and this can be seen in this shot. Due to the camera tracking Lisa and Lieutenant Leopold after they enter the frame, the audience’s attention stays focused on Lisa and Lieutenant Leopold, even thoug...
Before television existed people had to depend on Radio stations to receive their little bit of entertainment and news. But in 1878, the invention of TV began. The first TV made didn’t look anything like the way TV’s look today. It was a mechanical camera with a large spinning disc attached to it (Kids Work). But as over the years, of course, inventions of different TV’s progressed and by the 20th century about 90 percent of our population had a TV in their household (MGHR). Television today is mainly used for people take a break from their life by relaxing and enjoying some entertainment.
Presently 98% of the households in the United States have one or more televisions in them. What once was regarded as a luxury item has become a staple appliance of the American household. Gone are the days of the three channel black and white programming of the early years; that has been replaced by digital flat screen televisions connected to satellite programming capable of receiving thousands of channels from around the world. Although televisions and television programming today differ from those of the telescreens in Orwell’s 1984, we are beginning to realize that the effects of television viewing may be the same as those of the telescreens.
Berliner, Todd and Cohen, Dale J. "The Illusion of Continuity: Active Perception and the Classical Editing System." Journal of Film and Video 63.1 (2011): 44-63. Project MUSE. Web. 14 Feb. 2011. .
Nightingale, V & Dwyer, T 2006 ‘The audience politics of ‘enhanced’ television formats’, International Journal of Media and Cultural Politics, vol. 2, no.1, pp. 25-42
Audience reception is a critical area of focus and research when approaching media audiences. It is dependent on the context of viewing, making media use and media consumption within the home environment and other contexts an interesting area of study. During the 1980s the emergence and increasing use of television increased media research into consumption in an everyday context, addressing the domestic, the family and its contribution to daily life. The importance can be displayed through the centrality of the position of the television and how the arrangement of a living room is commonly based around this. According to David Morely (1986) patterns of television consumption can only be understood through the context of ‘family leisure activity’ (Schroder, Drotner, Kline, Murray, 2003: 8). Therefore in order to discuss whether the aspects within the home environment and other contexts differ in terms of consumption, it is fundamental in exploring family viewing and the patterns of everyday life. With the rise of new media and constant technological developments, media within the home have succumbed to fragmentation. Televisions can be used as an illustration, traditionally located in communal areas to the shift of location in every bedroom, along with the vast amount of channels available, the different platforms we can watch it on and developments that allow catch-up. ‘Furthermore the set has acquired a range of accessories and attachments such as videocassette recorders (VCRs), personal computers and remote controls, which have significantly modified the way it is used (Lee, Becker and Schonbach, 1989: 71). The diverse amount of media platforms available both in and outside our homes has somewhat merged, making it difficult to d...
Nevertheless, the question at hand is whether theatre will have a role in the society of the future, where cinema, digital television, and computers will continue to expand and grow. The answer to this question is yes. Heading into the 21st century, theatre will only be a fraction in a solid media industry. However, despite all the excitement technology brings with it, they will never replace theatre because it has something that can not be recreated or offered anywhere else. The cinema and its larger than life world appeals as an affordable alternative. Digital television provides digital interaction between the viewer and the producer. Theatre on the other hand, and its contents may take on a larger dimension, but we receive it directly in flesh and blood – one to one. The magical atmosphere between an actor and spectator who are constantly aware of each other and the theatre’s level of engagement is fundamentally more human and far more intimate.
Films and videos are rarely a simple record of what the camera sees. The reaction of audiences may vary according to what part of the world they are from, together with their customs and beliefs, when and where the film was made and set, and the ability of the film makers to lead the audience to a “willing suspension of disbelief” (Films in our lives, 1953) so that when the audience watch the film they are to think that what they are watching is actually happening rather than being played out by actors. Films tell stories about people – the way they live, behave, think, feel and interact. They show us in pictures, actions, words and sound what the world is like, was like, or might be like – or what the director’s particular view of the world might be. The film and video cameras provide us with a lens to look more closely at ourselves and our world (Films in our lives, 1953).