The Performing Arts & the Future of Television
Author | : |
Publisher | : |
Total Pages | : 12 |
Release | : 1975* |
Genre | : Performing arts |
ISBN | : |
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Author | : |
Publisher | : |
Total Pages | : 12 |
Release | : 1975* |
Genre | : Performing arts |
ISBN | : |
Author | : Brian Geoffrey Rose |
Publisher | : Greenwood |
Total Pages | : 296 |
Release | : 1986-02-21 |
Genre | : Performing Arts |
ISBN | : |
Rose presents a comprehensive historical explanation of the related changes in television and in the four performing arts. . . . Highly recommended for both culture students and enthusiasts of the performing arts. Library Journal
Author | : Denise Mann |
Publisher | : Rutgers University Press |
Total Pages | : 307 |
Release | : 2014-02-11 |
Genre | : Performing Arts |
ISBN | : 0813564557 |
This collection looks at the post–network television industry’s heady experiments with new forms of interactive storytelling—or wired TV—that took place from 2005 to 2010 as the networks responded to the introduction of broadband into the majority of homes and the proliferation of popular, participatory Web 2.0 companies like Facebook, YouTube, and Twitter. Contributors address a wide range of issues, from the networks’ sporadic efforts to engage fans using transmedia storytelling to the production inefficiencies that continue to dog network television to the impact of multimedia convergence and multinational, corporate conglomeration on entrepreneurial creativity. With essays from such top scholars as Henry Jenkins, John T. Caldwell, and Jonathan Gray and from new and exciting voices emerging in this field, Wired TV elucidates the myriad new digital threats and the equal number of digital opportunities that have become part and parcel of today’s post-network era. Readers will quickly recognize the familiar television franchises on which the contributors focus— including Lost, The Office, Entourage, Battlestar Gallactica, The L Word, and Heroes—in order to reveal their impact on an industry in transition. While it is not easy for vast bureaucracies to change course, executives from key network divisions engaged in an unprecedented period of innovation and collaboration with four important groups: members of the Hollywood creative community who wanted to expand television’s storytelling worlds and marketing capabilities by incorporating social media; members of the Silicon Valley tech community who were keen to rethink television distribution for the digital era; members of the Madison Avenue advertising community who were eager to rethink ad-supported content; and fans who were enthusiastic and willing to use social media story extensions to proselytize on behalf of a favorite network series. In the aftermath of the lengthy Writers Guild of America strike of 2007/2008, the networks clamped down on such collaborations and began to reclaim control over their operations, locking themselves back into an aging system of interconnected bureaucracies, entrenched hierarchies, and traditional partners from the past. What’s next for the future of the television industry? Stay tuned—or at least online. Contributors: Vincent Brook, Will Brooker, John T. Caldwell, M. J. Clarke, Jonathan Gray, Henry Jenkins, Derek Johnson, Robert V. Kozinets, Denise Mann, Katynka Z. Martínez, and Julie Levin Russo
Author | : Robin Nelson |
Publisher | : Manchester University Press |
Total Pages | : 236 |
Release | : 2013-07-19 |
Genre | : Performing Arts |
ISBN | : 1847796478 |
Robin Nelson's State of play up-dates and develops the arguments of his influential TV Drama In Transition (1997). It is equally distinctive in setting analusis of the aesethetics and compositional principles of texts within a broad conceptual framework (technologies, institutions, economics, cultural trends). Tracing "the great value shift from conduit to content" (Todreas, 1999), Nelson is relatively optimistic about the future quality of TV Drama in a global market-place. But, characteristically taking up questions of worth where others have avoided them, Nelson recognizes that certain types of "quality" are privileged for viewers able to pay, possibly at the expense of viewer preference worldwide for "local" resonances in television. The mix of arts and cultural studies methodologies makes for an unusual and insightful approach.
Author | : Pamela Douglas |
Publisher | : |
Total Pages | : 206 |
Release | : 2015 |
Genre | : Performing Arts |
ISBN | : 9781615932146 |
The book's journey into the future of television begins with “You Are Here,” delving into “The Great Convergence” of television and Internet and the vortex of change we all inhabit now. Then, glancing back, we explore “The Old World” of broadcast television to understand how we got to this moment of transition. Next, traveling “Between Worlds,” we visit cable television and see how the boundaries between network, cable, and Internet are mutating. After that, we enter “The New World” that ranges from empires like Netflix and Amazon down to Kickstarter-funded web series, and all the creative expressions that abound. Finally, we look ahead to the “Far Frontier” of interactivity and transmedia and a distant, fantastic future. All these experiences are focused on how a writer, producer, director, or entrepreneur can use the emerging possibilities to create original television now and in the coming decade.
Author | : Danna Karen Millstein |
Publisher | : |
Total Pages | : 98 |
Release | : 1994 |
Genre | : Art |
ISBN | : |
Author | : Maeve Connolly |
Publisher | : Intellect (UK) |
Total Pages | : 0 |
Release | : 2014 |
Genre | : Social Science |
ISBN | : 9781783201815 |
"TV Museum : contemporary art and the age of television charts the changing status of television as cultural form, object of critique, and site of artistic intervention since the 1950s." -- back cover.
Author | : Michael M. Kaiser |
Publisher | : Brandeis University Press |
Total Pages | : 197 |
Release | : 2015-01-23 |
Genre | : Performing Arts |
ISBN | : 1611687047 |
In this clear-minded but sobering book, Michael M. Kaiser assesses the current state of arts institutions-orchestras; opera, ballet, modern dance, and theater companies; and even museums. According to Kaiser, new developments in the twenty-first century, including the Internet explosion, the death of the recording industry, the near-death of subscriptions, economic instability, the focus on STEM education in schools, the introduction of movie-theater opera, the erosion of newspapers, the threat to serious arts criticism, and the aging of the donor base have together created tremendous challenges for all arts organizations. Using Michael Porter's model of industry structure to describe how industries evolve, Kaiser argues persuasively that unless steps are taken now, midsized performing arts institutions will have all but evaporated by 2035. Only the largest arts organizations will survive, with tickets priced for the very wealthy and programming limited to the most popular and lucrative productions. Kaiser concludes with a call to arms. With three extraordinary decades' experience as an arts administrator behind him, he advocates passionately for risk-taking in programming and more creative marketing, and details what needs to happen now-building strong donor bases, creating effective boards, and collective action-to sustain the performing arts for generations to come.
Author | : Alan R. Andreasen |
Publisher | : |
Total Pages | : 72 |
Release | : 1990 |
Genre | : Performing Arts |
ISBN | : |
Met lit. opg. By trying to understand the process by which someone becomes a committed, involved arts attender the author gives recommendations for the future development of arts audiences. The paper describes consumers at various stages in this process, attempts to learn what seems most related to transitions between stages, and then makes recommendations for both managerial action and further research based on the model and the study's primary findings.
Author | : Rockefeller Brothers Fund |
Publisher | : |
Total Pages | : 280 |
Release | : 1965 |
Genre | : Performing arts |
ISBN | : |