Relation between Technology and Television Productions: Fantastic Images

Sedat Cereci

Abstract


Technology presented people many facilities to communicate and for entertainment. Television is the most attractive media of 21. century and assembling is the base of television productions. Television constitutes enormous fantacy worlds and takes the spectator to its fantastic world by its artifical attractions. Spectators are affected by attractions of images which are revealed by technichs of assembling in a film or a in television production. Technology is the most enormous component of 21.th century and most of people can not avoid technology because of their businesses or because of their life styles. Computer is an unavoidable part of many people’s lives and computer is used a miraculous device in the world. Contemporary computer technichs present television producers and to directors many facilities to assemble different images by the help of attactive technics of computer. Assembling is a kind of magic because of associating different images in a fantastic story and it provides the spectators to travell to a fictional world. Computer technics help this travell and ease to emerge a rationalist story from a fantastic story. Television productions sometimes use special shootings and these shootings include difficulties to apply. But contemporary computer technics help difficulties to apply them and affect people as they want to live in those fantastic images. Computer technology adoptes many attractive artifices and helps television productions by revealing colorful attractions for television spectators. People find very attractive images more than they image and have travel to imaginary worlds via television images on computer base.


Keywords


Technology, computer, television, assembling, fantacy

Full Text:

PDF

References


Benner, M. J. and Tushman, M. (2002). Process management and technological innovation: A longitudinal study of the photography and paint industries. Administrative Science Quarterly. 47 (4), 676-706.

Bennett, G. (1986). Narrative as expository discourse. The Journal of American Folklore, 99 (394), 415-434.

Caldwell, J. T. (2005). Welcome to the viral future of cinema (television). Cinema Journal. 45 (1), 90-97.

Capino, J. B. (2005). Homologies of space: Text and spectatorship in all-male adult theaters. Cinema Journal, 45 (1), 50-65.

Cereci, S. (2001). Television Program Production. Istanbul: Metropol.

Cereci, S. (2008). Story of Image From Cave to Television. Ankara: Nobel.

]7] Cereci, S. (2009). Television spectator survey 2009. University and Society, 9 (1), 1-5.

Cereci, S. (2013). Film Production. Ankara: Nobel.

Chin, D. and Qualls, L. (2002). ”Here comes the sun”: Media and the moving image in the new millenium. A Journal of Performence and Art, 24 (2), 42-44.

]10] Corbett, K. J. (2001). The big picture: Theatrical moviegoing, digital television, and beyond the substitution effect. Cinema Journal, 40 (2), 17-34.

Everett, A. (2004). Click this: From analog dreams to digital realities. Cinema Journal, 43 (3), 93-98.

Delahunta, S. (2002). Virtual reality and performance. A Journal of Performance and Art, 24 (1), 105-114.

Doane, R. (2006). Digital desire in the daydream machine. Sociological Theory, 24 (2), 150-169.

Geuens, J. P. (2002). The digital world picture. Film Quarterly, 55 (4), 16-27.

Haenni, S. (1998). Staging methods, cinematic technique, and spatial politics. Cinema Journal, 37 (3), 83-108.

Hayes, K. J. (2002). Godard’s “comment ça va” (1976): From information theory to genetics. Cinema Journal, 41 (2), 67-83.

Prince, S. (2004). The emergence of filmic artifacts: Cinema and cinematography in the digital area. Film Quarterly, 57 (3), 24-33.

Hilmes, M. (2005). The bad object: Television in the American Academy. Cinema Journal, 45 (1), 111-117.

Hughes, J. (1981). ”The Tin Drum”: Volker Schlondorff’s “dream of childhood”. Film Quarterly, 34 (3), 2-10.

Jackman, M. R. (2002). Violence in social life. Annual Review of Sociology, 28, 387-415.

Juster, F. T. and Ono, H. and Stafford, F. P. (2003). An assessment of alternative measures of time use. Sociological Methodology, 33, 19-54.

King, D. L. (2000). Using videos to teach mass media and society from a critical perspective. Teaching Sociology, 28 (3), 232-240.

Macdonald, S. and Brakhage, S. (2003). The fimmaker as visionary: Excerpts from an interview with Stan Brakhage. Film Quarterly, 56 (3), 2-11.

Merritt, R. (2005). Lost on pleasure islands: Storytelling in Disney’s “silly symphonies”. Film Quarterly, 59 (1), 4-17.

Mittell, J. (2001). A cultural approach to television genre theory. Cinema Journal, 40 (3), 3-24.

Newcomb, H. (2005). Studying television: Same questions, different contexts. Cinema Journal, 45 (1), 107-111.

Roth, M. and Lacy, S. and Morales, J. and Holland, U. (2001). “Making&Performing “Code 33”: A Public Art Project with Suzanne Lacy, Julio Morales and Unique Holland”. A Journal of Performance and Art, 23 (3), 47-62.

Sark Yildizi (2009). “Functional Technology”. 10 October 2009. P. 7.

Sezer, Y. (2009). Television production process. Broadcaterinfo, 67, 100-104.

Smith, L. A. and Green, S. G. (2002). Implementing new manufacturing technology: The related effects to technology characteristics and user learning activities. The Academy of Management Journal, 45 (2), 421-430.

Spigel, L. (2005). TV’s next season. Cinema Journal, 45 (1), 83-90.

Sobchack, V (2005). When the ear dreams: Dolby digital and the imagination of sound. Film Quarterly, 58 (4), 2-15.

Stasser, G. and Titus, W. (2003). Hidden profiles: A Brief history. Psychological Inquiry, 14 (2/4), 304-313.

Sullivan, C. W. (2001). Folklore and fantastic literature. Western Folklore, 60 (4), 279-296.

Tomasulo, F. P. (2004). In focus: What is cinema? What is Cinema Journal?. Cinema Journal. 43 (3), 79-81.

Vries, L. (2001). Saenredam. utrecht. The Burlington Magazine. 143 (1175), 108-110.

Wasser, F. (1995). Four walling exhibition: Regional resistance to the Hollywood film industry. Cinema Journal, 34 (2), 108-134.


Refbacks

  • There are currently no refbacks.


Copyright (c)