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Critical Studies in Television最新文献

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Book Review: Audiovisual content for children and adolescents in Scandinavia: Production, distribution, and reception in a multiplatform era 书评:斯堪的纳维亚儿童和青少年视听内容:多平台时代的制作、发行和接收
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-11-01 DOI: 10.1177/17496020241280439
Ruchi Kher Jaggi
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引用次数: 0
Is prompt engineering the future of screenwriting? Views of professional screenwriters and commissioners about the impact of AI technologies on their profession 提示工程是编剧的未来吗?专业编剧和专员对人工智能技术对其职业影响的看法
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-10-28 DOI: 10.1177/17496020241269277
Eliisa Vainikka, Anne Soronen, Saara-Maija Kallio
This article presents a qualitative interview study of Finnish screenwriters and commissioners about the impact of generative artificial intelligence on the profession of screenwriting. We ask how screenwriters and commissioners see the benefits and risks of AI tools in screenwriting and how screenwriters see their changing profession in the future. We identify three stances towards AI-driven work practices in screenwriting. The functional, critical and curious stance reflect the ways in which the writers position themselves against AI technologies. Prompt engineering has emerged as a new skill in commanding AI and will become a conventional part of creative work.
本文介绍了一项对芬兰编剧和委托人的定性访谈研究,内容涉及生成式人工智能对编剧职业的影响。我们询问编剧和委托人如何看待人工智能工具在编剧工作中的益处和风险,以及编剧如何看待他们未来职业的变化。对于人工智能驱动的编剧工作实践,我们确定了三种立场。功能性立场、批判性立场和好奇心立场反映了编剧对人工智能技术的自我定位。及时工程已成为指挥人工智能的一项新技能,并将成为创作工作的常规组成部分。
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引用次数: 0
Book Review: Monsters on Maple Street: The Twilight Zone and the Postwar American Dream 书评:枫树街的怪物:阴阳魔界》与战后美国梦
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-10-21 DOI: 10.1177/17496020241280449
Mehdi Achouche
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引用次数: 0
Book Review: Transmedia/Genre: Rethinking Genre in a Multiplatform Culture 书评:跨媒体/流派:多平台文化中的流派反思
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-10-18 DOI: 10.1177/17496020241280440
Marta F Suarez
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引用次数: 0
Book Review: TV drama in the multiplatform era: Transnational coproduction and cultural specificity 书评:多平台时代的电视剧:跨国共同制作与文化特殊性
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-10-17 DOI: 10.1177/17496020241280438
Max Sexton
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引用次数: 0
Book Review: Screen plays: Theatre plays on British television 书评:银幕戏剧:英国电视上的戏剧
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-10-17 DOI: 10.1177/17496020241280450
Tom May
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引用次数: 0
Landscapes in the frame: Anthropocene screens 画框中的风景人类世屏幕
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-10-17 DOI: 10.1177/17496020241259277
Irina Souch, Robert A Saunders, Anne Marit Risum Waade
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引用次数: 0
Gay as cute: Unpacking cuteness in contemporary gay teen drama series 同性恋的可爱解读当代同性恋青春剧中的可爱之处
IF 1 2区 艺术学 0 FILM, RADIO, TELEVISION Pub Date : 2024-09-20 DOI: 10.1177/17496020241286786
Frederik Dhaenens, Ben De Smet
Since the late 2010s, there has been a surge in gay teen drama series that portray their gay male protagonists as cute. This article focuses on four series ( Heartstopper, Young Royals, Love, Victor, and wtFOCK) and examines which formal and narrative practices are used to convey cuteness. It argues that, first, each series participates in the creation of the cute gay boy archetype; second, each series represents cuteness as vulnerable in an ambiguous and, at times, resistant manner; third, cute aesthetics are used to soften the blow when tackling heavy or disturbing issues or to amplify positive emotions.
自 2010 年代末以来,将男同性恋主人公描绘成可爱形象的同性恋青春剧激增。本文聚焦于四部剧集(《心跳停止》、《年轻的皇家》、《爱》、《维克多》和《wtFOCK》),探讨了哪些形式和叙事手法被用来传达可爱。文章认为,首先,每个系列都参与了可爱男同性恋原型的创造;其次,每个系列都以一种模棱两可、有时甚至是抵触的方式将可爱表现为脆弱;第三,在处理沉重或令人不安的问题时,可爱美学被用来缓和打击,或放大积极情绪。
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引用次数: 0
Re-heating the “First” Thanksgiving: the Thanksgiving episode as settler colonial narrative 重新加热 "第一次 "感恩节:作为殖民者殖民叙事的感恩节插曲
IF 1 2区 艺术学 N/A FILM, RADIO, TELEVISION Pub Date : 2024-09-14 DOI: 10.1177/17496020241284207
Olivia Stowell
Thanksgiving-themed episodes of cooking television open up questions about the interrelations of food, history, power, and culture. This study addresses such questions through textual and thematic analysis of 46 Thanksgiving-themed episodes of reality cooking competition programmes on US cable TV, exploring how the Thanksgiving episode operates as a site for the deployment of the culinary as a category by which the past is re/created. I argue that the Thanksgiving episode represents history through two frames: “tradition” and “reenactment.” Reading the Thanksgiving episode as a site of history's reconstruction illuminates popular media's involvement in the socio-historical-political machinery of contemporary life.
以感恩节为主题的烹饪电视节目提出了关于食物、历史、权力和文化之间相互关系的问题。本研究通过对 46 集美国有线电视烹饪比赛真人秀节目中以感恩节为主题的剧集进行文本和主题分析来探讨这些问题,探索感恩节剧集如何将烹饪作为重新/创造过去的一个类别。我认为,感恩节节目通过两个框架来表现历史:"传统 "和 "重现"。将《感恩节》一剧作为历史重构的场所来解读,可以揭示大众媒体对当代生活的社会历史政治机制的参与。
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引用次数: 0
Awakening contaminated lands: (Re)mediated landscapes as transcultural TV memory work, a case study of Sky/HBO miniseries, Chernobyl (2019) 唤醒被污染的土地:作为跨文化电视记忆作品的(再)媒介景观,对天空电视台/HBO迷你剧《切尔诺贝利》(2019年)的案例研究
IF 1 2区 艺术学 N/A FILM, RADIO, TELEVISION Pub Date : 2024-09-07 DOI: 10.1177/17496020241258707
Janet McCabe
This article focuses on the five-part miniseries, Chernobyl (2019), with its contaminated landscape that deals with a troubled, traumatic history. It takes inspiration from the work of Walter Benjamin and his concept of historical materialism, but principally draws on theoretical paradigms dealing with transcultural memory, to advance a discussion on memory work, (re)mediation of historical events and televisual representation. Specifically the essay explores the strategies through which the Anglo-American co-production between Sky and HBO, the first of its kind, offers a collective remembrance of this man-made ecological disaster from 1986 in 2019, awakened in (re)mediated landscapes.
本文重点关注五集迷你剧《切尔诺贝利》(2019 年),该剧以其受污染的景观讲述了一段动荡不安、充满创伤的历史。文章从瓦尔特-本雅明(Walter Benjamin)的著作及其历史唯物主义概念中汲取灵感,但主要借鉴了涉及跨文化记忆的理论范式,以推进关于记忆工作、历史事件(再)调解和电视表现的讨论。具体而言,文章探讨了天空电视台和 HBO 首次联合制作的英美纪录片所采用的策略,该纪录片在(重新)调解的景观中唤醒了 2019 年人们对 1986 年这场人为生态灾难的集体记忆。
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引用次数: 0
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Critical Studies in Television
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