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"TV Writing on Demand: Creating Great Content in the Digital Era takes a deep dive into writing for today's audiences, against the backdrop of a rapidly-evolving TV ecosystem. Amazon, Hulu and Netflix were just the beginning. The proliferation of everything digital has led to an ever-expanding array of the most authentic and engaging programming that we've ever seen. No longer is there a distinction between broadcast, cable and streaming. It's all content. Regardless of what new platforms and channels will emerge in the coming years, for creators and writers, the future of entertainment has never looked brighter.This book goes beyond an analysis of what makes great programming work. It is a master course in the creation of entertainment that does more than meet the standards of modern audiences'"it challenges their expectations. Among other essentials, readers will discover how to:Satisfy the binge viewer: analysis of the new genres, trends and how to make smart initial decisions for strong, sustainable story. Plus, learn from the rebel who reinvented an entire format.Develop iconic characters: how to foster audience alignment and allegiance, from empathy and dialogue to throwing characters off their game, all through the lens of authenticity and relatability.Create a lasting, meaningful career in the evolving TV marketplace: how to overcome trips, traps and tropes, the pros and cons of I.P., use the Show Bible as a sales tool and make the most of the plethora of new opportunities out there."--Provided by publisher.

Television authorship. --- Interactive television. --- Video-on-demand. --- Television --- Convergence (Telecommunication) --- Technological innovations. --- Telecommunication --- On-demand video --- Video dial tone --- Video dialtone --- Video-to-home --- Interactive videos --- Television programs --- Television scripts --- Television writing --- Authorship

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Plus que jamais, les films et les programmes de télévision européens se battent pour capter des parts de marché face à l'assaut de contenus à succès originaires, notamment, des Etats-Unis. La progression du marché du contenu à la demande signifie qu'il existe désormais, potentiellement, un nouveau canal pour la promotion des œuvres européennes par l'intermédiaire des différents services à la demande. Mais comment l'Europe a-t-elle intégré ces services à la demande et leur potentiel dans sa législation ? L'Observatoire européen de l'audiovisuel vient de publier un nouveau rapport détaillé IRIS Spécial qui pose précisément cette question.

Communicatiebeleid --- Communication [Politique de la ] --- Communication policy --- Motion picture industry --- Video dial tone --- Television broadcasting --- Cultural property --- Cinéma --- Vidéo à la demande --- Télévision --- Biens culturels --- Protection --- Industrie --- Video-on-demand --- Cinéma --- Vidéo à la demande --- Télévision --- Audio-visual aids

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La télévision sort de son écran. L'arrivée du numérique entraîne la délinéarisation ainsi qu'une plus grande disponibilité des contenus : une bonne partie des titres sont désormais conçus pour une livraison sur les nouvelles plateformes, qu'il s'agisse de logiciels spécifiques, de sites Web ou des services de vidéo à la demande qui, depuis quelques années, ne se limitent plus à la diffusion mais deviennent aussi producteurs. La télévision est-elle morte ? Le présent ouvrage répond à cette question par la négative, en montrant que, depuis toujours, la télévision est caractérisée par une forte instabilité : insoumise, elle est un média en transition issu de la convergence de plusieurs autres médias dont le cinéma, la radio et le téléphone. Choisissant de penser le numérique comme un catalyseur d'expériences télévisuelles, les textes ici réunis, écrits par des chercheurs provenant de différents pays et contextes disciplinaires, montrent qu'aujourd'hui (comme autrefois) la télévision réinvente son identité ainsi que ses formes, s'adaptant à des impératifs de nature technologique, géographique et contextuelle."

Télévision par Internet --- Télévision --- télévision --- Internet --- évolution --- Digital television --- Television --- Video-on-demand --- Effect of technological innovations on --- Effect of technological innovations on. --- Télévision numérique --- Effets des innovations technologiques --- Télévision par Internet. --- Effets des innovations technologiques. --- Télévision - Effets des innovations technologiques

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"This content is not available in your country." At some point, most media consumers around the world have run into a message like this. Whether trying to watch a DVD purchased during a vacation abroad, play an imported Japanese video game, or listen to a Spotify library while traveling, we are constantly reminded of geography's imprint on digital culture. We are locked out. Despite utopian hopes of a borderless digital society, DVDs, video games, and streaming platforms include digital rights management mechanisms that block media access within certain territories. These technologies of "regional lockout" are meant first and foremost to keep the entertainment industries' global markets distinct. But they also frustrate consumers and place territories on a hierarchy of global media access. Drawing on extensive research of media-industry strategies, consumer and retailer practices, and media regulation, Locked Out explores regional lockout's consequences for media around the globe. Power and capital are at play when it comes to who can consume what content and who can be a cultural influence. Looking across digital technologies, industries, and national contexts, Locked Out argues that the practice of regional lockout has shaped and reinforced global hierarchies of geography and culture.

Trade regulation. --- Entertainment computing. --- Digital media. --- Interactive multimedia. --- Multimedia systems. --- BBC. --- DVD. --- Spotify. --- activism. --- cinephilia. --- cosmopolitanism. --- cultural capital. --- diaspora. --- digital rights management. --- distribution. --- gamers. --- geoblocking. --- globalization. --- governance. --- hacking. --- internet. --- media literacy. --- mobility. --- music. --- piracy. --- region code. --- region codes. --- regional lockout. --- regulation. --- streaming. --- video games. --- video on demand.

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Since the mid-1980s, US audiences have watched the majority of movies they see on a video platform, be it VHS, DVD, Blu-ray, Video On Demand, or streaming media. Annual video revenues have exceeded box office returns for over twenty-five years. In short, video has become the structuring discourse of US movie culture. Killer Tapes and Shattered Screens examines how prerecorded video reframes the premises and promises of motion picture spectatorship. But instead of offering a history of video technology or reception, Caetlin Benson-Allott analyzes how the movies themselves understand and represent the symbiosis of platform and spectator. Through case studies and close readings that blend industry history with apparatus theory, psychoanalysis with platform studies, and production history with postmodern philosophy, Killer Tapes and Shattered Screens unearths a genealogy of post-cinematic spectatorship in horror movies, thrillers, and other exploitation genres. From Night of the Living Dead (1968) through Paranormal Activity (2009), these movies pursue their spectator from one platform to another, adapting to suit new exhibition norms and cultural concerns in the evolution of the video subject.

Sociology of culture --- Film --- United States --- Technology in motion pictures. --- Cinematography --- Horror films --- Motion picture audiences. --- Video recordings --- Digital video --- Video recordings industry. --- Technological innovations. --- History and criticism. --- Production and direction --- Data processing. --- Film audiences --- Filmgoers --- Moviegoers --- Moving-picture audiences --- Performing arts --- Digital motion video --- PC video --- Video, Digital --- Computer graphics --- Digital media --- Image processing --- Multimedia systems --- Photography --- Chronophotography --- Videorecordings --- Videos --- Audio-visual materials --- Video industry --- Video tape production industry --- Motion picture industry --- Motion pictures --- Audiences --- Digital techniques --- Animated pictures --- apparatus theory. --- blu ray. --- box office. --- case studies. --- digital video. --- dvd. --- file sharing. --- film and culture. --- film audiences. --- film critics. --- film industry. --- film scholars. --- film studies. --- home viewing. --- horror movies. --- media studies. --- motion pictures. --- movie culture. --- movies. --- nonfiction. --- piracy. --- post cinematic. --- postmodern philosophy. --- prerecorded video. --- psychoanalysis. --- spectatorship. --- streaming services. --- thrillers. --- united states. --- vhs. --- video on demand. --- video platforms. --- video revenues. --- United States of America