Television

The Internet is also a medium of television distribution (01/20/2010)
(...) ITV began experimenting with special ‘mobisodes’ of Coronation Street (ITV 1960–) clips sent to cell phones in 2006. ‘Entertainment is no longer linear,’ said Jana Bennett, BBC Director of Television. ‘You have to think in terms of a broader life cycle of a show – how it will play on TV or computer, in a game, on a phone – and you have to embrace a new kind of creative partnership with your audience’. (...)

Digital cinema covers the entire movie production (01/20/2010)
(...) Digital filming began, in theory, in the late 1980s, when Sony came up with the marketing concept of ‘electronic cinematography'. The initiative failed to take off with professionals and public alike, and it was only at the end of the 1990s, with the introduction of HDCAM recorders and a renaming of the process to ‘digital cinematography', that making films using digital cameras and related equipment finally began to take hold. George Lucas was instrumental in engendering this shift, when, in 2001-2 he shot the ‘Attack of the Clones' episode of his Star Wars saga digitally, using Sony HDW-F900 HDCAM camcorders fitted with high-end Panavision lenses (the French feature Vidocq was actually the first shot with the Sony camera). (...)

Contrasts between the BBC and the American Media (01/19/2010)
(...) The work on popular music, the studies of popular literature and magazines and the studies of radio soap opera, all revealed similar preoccupations with the ‘standardization' of mass culture and the media. Despite the pessimistic approach of The Frankfurt School towards the media, it can still be praised for at least taking these new Media forms seriously and worthy of academic study. This project was continued and developed by the Structuralist movement which became increasingly popular in the 1950s and 1960s. (...)

How postmodernism interacts with the media (01/19/2010)
(...) It is not that simply the line between the media image and the real have become blurred; it is more that the media image and the real are now part of the same entity and are therefore now unable to be separated at all. Some critics have even suggested that the differences between human and machine is now beginning to disappear, tending to eradicate the old ‘human' versus ‘technology' binary opposition upon which so much of the pessimistic theories of modernism were based. Although the idea of the cyborg (a hybrid of machine and organism) may still be in its scientific infancy, feminist critics already use it as a metaphor for the power to deconstruct essentialist notions of gender and identity in a ‘posthuman' world. (...)

Digital characteristics of New Media and its key qualities (01/19/2010)
(...) The problem can be put like this. Digital aesthetics, like any other form of aesthetics, has to respond to the material qualities of the media it investigates. An aesthetics of painting would look at brushwork, colour, depth and consistency of the paint and so on. (...)