(G)hosting television: Ghostwatch and its medium

This article’s subject is Ghostwatch (BBC, 1992), a drama broadcast on Halloween night of 1992 which adopted the rhetoric of live non-fiction programming, and attracted controversy and ultimately censure from the Broadcasting Standards Council. In what follows, we argue that Ghostwatch must be understood as a televisually-specific artwork and artefact. We discuss the programme’s ludic relationship with some key features of television during what Ellis (2000) has termed its era of ‘availability’, principally liveness, mass simultaneous viewing, and the flow of the television super-text. We trace the programme’s television-specific historicity whilst acknowledging its allusions and debts to other media (most notably film and radio). We explore the sophisticated ways in which Ghostwatch’s visual grammar and vocabulary and deployment of ‘broadcast talk’ (Scannell 1991) variously ape, comment upon and subvert the rhetoric of factual programming, and the ends to which these strategies are put. We hope that these arguments collectively demonstrate the aesthetic and historical significance of Ghostwatch and identify its relationship to its medium and that medium’s history. We offer the programme as an historically-reflexive artefact, and as an exemplary instance of the work of art in television’s age of broadcasting, liveness and co-presence

Workflow support for live object-based broadcasting

This paper examines the document aspects of object-based broadcasting. Object-based broadcasting augments traditional video and audio broadcast content with additional (temporally-constrained) media objects. The content of these objects - as well as their temporal validity - are determined by the broadcast source, but the actual rendering and placement of these objects can be customized to the needs/constraints of the content viewer(s). The use of object-based broadcasting enables a more tailored end-user experience than the one-size-fits-all of traditional broadcasts: the viewer may be able to selectively turn off overlay graphics (such as statistics) during a sports game, or selectively render them on a secondary device. Object-based broadcasting also holds the potential for supporting presentation adaptivity for accessibility or for device heterogeneity.From a technology perspective, object-based broadcasting resembles a traditional IP media stream, accompanied by a structured multimedia document that contains timed rendering instructions. Unfortunately, the use of object-based broadcasting is severely limited because of the problems it poses for the traditional television production workflow (and in particular, for use in live television production). The traditional workflow places graphics, effects and replays as immutable components in the main audio/video feed originating from, for example, a production truck outside a sports stadium. This single feed is then delivered near-live to the homes of all viewers. In order to effectively support dynamic object-based broadcasting, the production workflow will need to retain a familiar creative interface to the production staff, but also allow the insertion and delivery of a differentiated set of objects for selective use at the receiving end.In this paper we present a model and implementation of a dynamic system for supporting object-based broadcasting in the context of a motor sport application. We define a new multimedia document format that supports dynamic modifications during playback; this allows editing decisions by the producer to be activated by agents at the receiving end of the content. We describe a prototype system to allow playback of these broadcasts and a production system that allows live object-based control within the production workflow. We conclude with an evaluation of a trial using near-live deployment of the environment, using content from our partners, in a sport environment.</p

Selling soccer

In July 2002, the Football Association of Ireland (FAI) announced that it had sold the live television rights to all of the Republic of Ireland’s home international fixtures during the period 2002 to 2006 to British Sky Broadcasting (BSkyB) for €7.5 million. In addition, the rights to delayed coverage of the internationals and coverage of the association’s domestic league were sold to the independent commercial station TV3. The state’s public service broadcaster, RTÉ, was left out in the cold thereby ending a forty-year relationship. Only one fifth of Irish homes had access to Sky Sports and although the announcement was greeted with dismay in almost every quarter the FAI described the deal as ‘too good to turn down’. If the deal had gone ahead fans would have had to subscribe to Sky Sports to watch live coverage of their national team playing in the qualifiers for the 2004 European Championship and the 2006 World Cup

HOW WIDE IS BROADWAY? : THE THEATRE GUILD'S RADIO AND TELEVISION PRODUCTIONS IN POST-WORLD-WAR-II AMERICA

In the fall of 1947, the Theatre Guild, arguably the theatrical producing organization that had defined the American theatre aesthetic since its inception in 1918, splashed confidently and unhesitatingly into the barely-charted waters of the nascent medium of live television. The attempt seemed destined for success since the Guild had been producing a successful radio program for two years and was paired with NBC, the most successful of the early television networks. However, fourteen months later the Guild retired from television. It had failed in its ambitious plan to bring the sights, sounds of Broadway to every living room from coast to coast. I argue that the principal reason for its failure was artistic rather than commercial and that by 1948 the Guild's various broadcasting ventures illustrate that the Theatre Guild, which had once defined itself as farsighted and experimental had in reality become nearsighted and stodgy. This dissertation explores the background of the Theatre Guild before it entered broadcasting, during the time it was developing its position as Broadway's leading exponent of artistic plays and experimental theatre. It continues the story through the Guild's production of The Theatre Guild on the Air, a weekly series of hour-long adaptations of stage plays that it began producing in 1945, and on to the Guild's abortive first attempt at live television from 1947-1948. Finally, it documents the Guild's efforts to return to television, which it ultimately did in 1953, although with a different purpose in mind and with a much more successful approach

Efektivitas Tayangan “Yuk Keep Smile” Di Trans TV Terhadap Pemenuhan Hiburan Pemirsa Di Kelurahan Walian

EFFECTIVENESS DISPLAY " YUK KEEP SMILE" IN TRANS TV TO ACCOMPLISHMENT OF ENTERTAINMENT AMUSEMENT BEHOLDER IN SUB-DISTRICT OF WALIAN. Progress of technology this time fast so him expand, one of the communications technology is television. Television is one of the effective communication means in submitting information to society. This matter because television can present concurrently between voice and picture. With progress of television technology, we earn to witness direct broadcast a[n us although activity reside in far. This our seakan-akan witness to near from the activity. Television have excess to present broadcast directly (broadcasting live) tired which can. Pursuant to breakdown of research background above, hence which is formula in this research is : How Effectiveness Display " Yuk Keep Smile" In Trans TV To Accomplishment Of Entertainment Amusement Beholder In Sub-District of Walian

Performing the identity of the medium: adaptation and television historiography

This article focuses on how histories of television construct narratives about what the medium is, how it changes, and how it works in relation to other media. The key examples discussed are dramatic adaptations made and screened in Britain. They include early forms of live transmission of performance shot with multiple cameras, usually in a TV studio, with the aim of bringing an intimate and immediate experience to the viewer. This form shares aspects of medial identity with broadcast radio and live television programmes, and with theatre. The article also analyses adaptations of a later period, mainly filmed dramas for television that were broadcast in weekly serialised episodes, and shot on location to offer viewers a rich engagement with a realised fictional world. Here, film production techniques and technologies are adapted for television, alongside the routines of daily and weekly scheduling that characterise television broadcasting. The article identifies and analyses the questions about what is proper to television that arise from the different forms that adaptations took. The analyses show that television has been a mixed form across its history, while often aiming to reject such intermediality and claim its own specificity as a medium. Television adaptation has, paradoxically, operated as the ground to assert and debate what television could and should be, through a process of transforming pre-existing material. The performance of television’s role has taken place through the relay, repetition and remediation that adaptation implies, and also through the repudiation of adaptation

“East Meets West”: Symphony Television Production

“East Meets West”: Symphony Television Production is a multi-camera broadcasting project covering WKU Symphony’s live performance titled “East Meets West” in Van Meter Hall on March 16, 2012. The project involved recording the WKU Symphony’s ninety-minute live performance using seven professional high-definition cameras throughout the auditorium and directing camera operators from the television control booth. The footage from each camera was synced in post-production and edited down for regional broadcast and distribution. The final video includes a majority of the pieces presented during the performance on March 16, as well as brief informative interviews with members of the WKU Symphony. This ambitious television production required strategic and extensive planning, producing, directing, editing, crew management, budgeting, and collaboration among all individuals involved in the broadcasting project and symphony performance

Internet television: past and present

The development of digital technologies has radically changed the direction of the development of modern media. Professional producers of information – newspapers, radio broadcasting, and television – entered the Internet no more than fifteen years ago. The Internet is used by almost all types of media in the world as an additional channel for the transmission and distribution of content. Many media experts see a great future in the Internet media market. In Bangladesh, home to 160 million people, Internet media are already popular and growing rapidly. Internet TV began to function at the beginning of the 21st century. It was created specifically for broadcasting on the network, which requires a high level of technical equipment from both the producer and the content provider and the consumer. Therefore, chronologically, television was the last type of media that entered the Internet. In this report, we analyze the basic features of Internet Television that exists in contemporary Bangladesh and provide an account of the development trends. We analyzed Internet Television broadcasters in Bangladesh, like “ATN Music”, “Popcorn Live”. This study is based on both primary and secondary sources of qualitative data to understand the ability of Internet TV to provide news, qualitive information, together with the challenges and opportunities of it to work in the ever-changing media landscape

Student Broadcaster Leads Pro Baseball Telecasts

Surrounded by bunting and a sellout crowd, Swan was sitting behind a microphone with a TV camera to his right ready to call play-by-play for a live television broadcast of the San Rafael Pacifics’ independent minor league season-opening game on June 3. Figuratively speaking, he was about to hit a home run in his young broadcasting career as the lead announcer in professional baseball

Internet television in Bangladesh: past and present

The development of digital technologies has radically changed the direction of the development of modern media. Professional producers of information - newspapers, radio broadcasting, and television - entered the Internet no more than fifteen years ago. The Internet is used by almost all types of media in the world as an additional channel for the transmission and distribution of content. Many media experts see a great future in the Internet media market. In Bangladesh, home to 160 million people, Internet media are already popular and growing rapidly. Internet TV began to function at the beginning of the 21st century. It was created specifically for broadcasting on the network, which requires a high level of technical equipment from both the producer and the content provider and the consumer. Therefore, chronologically, television was the last type of media that entered the Internet. In this report, we analyze the basic features of Internet Television that exists in contemporary Bangladesh and provide an account of the development trends. We analyzed Internet Television broadcasters in Bangladesh, like "ATN Music", "Popcorn Live". This study is based on both primary and secondary sources of qualitative data to understand the ability of Internet TV to provide news, qualitive information, together with the challenges and opportunities of it to work in the ever-changing media landscape