The new television handbook:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
London ; New York
Routledge, Taylor & Francis Group
2017
|
| Edition: | Fifth edition |
| Series: | Media practice
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Item Description: | Die erste Auflage erschien 1997 unter dem Titel: "The television handbook" |
| Physical Description: | xiv, 332 Seiten Illustrationen |
| ISBN: | 9781138833500 9781138833517 |
Staff View
MARC
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Record in the Search Index
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|---|---|
| adam_text | Contents
List of figures
Acknowledgements
Introduction
PART 1
ON TELEVISION AND TELEVISION STUDIES
1 Television and tele-fiteracy
Television today 3
Tele-literacy 5
2 The history of television in the United Kingdom
Conditions of possibility 10
3 The contemporary landscape: UK channels
and public service
The three ages of television 18
The BBC and its future 19
Commercial UK broadcasters and public service 22
Of com and regulation 25
Other UK-based channels 28
independent production companies 28
Kate Beal: Woodcut Media 32
4 The contemporary landscape: globalisation,
multichannel and multiplatform
Globalisation and multichannel 35
Online and multiplatform 37
5 The landscape of television in the
United Kingdom: text
The age of superabundance: interstitials and paratexts 41
The linear flow: scheduling and branding 42
Cross-platform, paratexts and interactivity 45
About genres 47
Overview of the main television genres 48
A note on ratings, funding and formats 52
6 Studying television
Studying television: an overview 54
Mapping the field 55
PART 2
THE PRACTITIONERS’ PERSPECTIVE
7 Working in television: an overview
Working in television 67
Programme production types 69
Production processes 72
Television work areas 74
8 Producing and production management
Producers 76
Production management 78
Abigail McKenzie: Talent Team Assistant, BBC
Children’s Department 84
9 The director s concerns
Director and crew 86
The director’s concerns 89
Types of shot 94
A fresh perception of the world 102
CONTENTS
vii
10 The visual dimension: cameras, lighting and
the cinematographer 104
Cameras and recording media 104
Cameras and digital cinematography 107
Visions of fight 111
Lighting: basic principles 113
11 Sound recording and the audio space 119
Television and the flow of sound 119
Sound recording and audio design 122
Sound quality 127
12 Studios and studio work 136
‘Live1 and ‘as live 136
Working in the studio 137
Studios 144
QVC: the shopping channel 145
13 Post-production processes: editing 151
Editing and post-production 151
The work of editing 154
Editing processes 157
Styles of editing 159
The final stages 163
14 Sound, visual effects and preparing for
broadcast 165
The aural dimension: creating the audio space 165
Sound editing 168
Graphics and visual effects 172
Post-production: preparing for broadcast and distribution 179
Luke Sothinathan: VT technician 181
PART 3
PROGRAMMES AND GENRES 183
15 Drama and television narrative
Thinking about narrative 185
185
viii
CONTENTS
Fictional narratives: drama 186
Narrative theory 192
Narrative realism and other realisms 200
Identity and narration 204
16 From documentary to factual entertainment
207
Contemporary factual programming 207
Brief history of UK documentary: the creative treatment
of actuality 209
Documentary and contemporary subgenres 212
Research for factual programmes 215
Interview techniques 219
Documentary and factual ethics 223
Anne Parisio: Parisio Productions 229
Note 229
17 News, politics and television as information 232
LISETTE JOHNSTON
History 232
Types of news and current affairs 233
Television news teams 235
The news agenda 240
Producing the news 242
Gio Ulleri: journalist/filmmaker 245
PART 4
TRAINING AND INDUSTRY CONTEXTS
249
18 Training, education and getting into the
industry
Training and getting into the industry 251
RedBalloon and Solent Productions 254
251
19 Opening up the industry: diversity and access
257
Diversity and access 257
Relevant documents 260
MAMA Youth Project 260
Bob Clarke: Executive Producer, MAMA Youth Project 262
CONTENTS
ix
Jonny Yapi - my story 264
Training and opportunities: a list of useful references 266
20 Hannah s diary 268
Hannah s diary: ApriJ-November 2015 268
Contacts for entry-level jobs 275
21 Making programmes: pitching and commissioning 276
Turning an idea into a commission 276
Opportunities and funds 281
Glossary 285
Bibliography 301
Programme references 308
Index 323
The New Television Handbook provides an exploration of the theory and practice of
television at a time when the medium is undergoing radical changes. The book looks at
television from the perspective of someone new to the industry, and explores the place
of the medium within a constantly changing digital landscape.
This title discusses key skills involved in television production, including: producing,
production management, directing, camera, sound, editing and visual effects. Each of
these activities is placed within a wider context as it traces the production process from
commissioning to post-production.
The book outlines the broad political and economic context of the television industry.
It gives an account of television genres, in particular narrative, factual programmes and
news, and it considers the academic discipline of media studies and the ways in which
theorists have analysed and tried to understand the medium. It points to the interplay of
theory and practice as it draws on the history of the medium and observes the ways in
which the past continues to influence and invigorate the present.
The New Television Handbook includes:
• contributions from practitioners ranging from established producers to new entrants;
* a comprehensive list of key texts and television programmes;
* a revised glossary of specialist terms;
• a section on training and ways of getting into the industry.
By combining theory, real-world advice and a detailed overview of the industry and
its history, The New Television Handbook is an ideal guide for students of media and
television studies and young professionals entering the television industry.
Patricia Holland has worked as an independent filmmaker, a television editor and a
freelance journalist. She is currently a writer and researcher specialising in television
history, and lectures at Bournemouth University, UK. Her most recent book is
Broadcasting and the NHS in the Thatcherite 1980s (2013). She is the author of the
first and second editions of The Television Handbook.
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