Did you ever see a fantastic movie and want to make your own to show an audience? Have you wondered how the film industry looks at theater, television, video-on-demand, lap tops, tablet computers, smart-phones? If you had your movie, how would you publicize it? What would make people want to watch it? How would you make that happen? This book will describe a the many forgotten basics of the movie making business and then show how the publicity machine really works. You have the ability to create a quality film piece and present it to a wide audience. It doesn't have to be a full time endeavor. Also, it doesn't have to be expensive. Today's technology allows for film making that anyone can afford. You just need to be guided through the right tools for you to succeed. That's what this book does. The business of film and movies is an art. Being an art, there are different slants of thought on the topic. Take this book as my slant and consider what is offered only a suggestion. I will not step on toes as I respect the art and the business of all film producers. The goal of this book is to have you be proud of your success and to be excited to tell me about it. I truly want to celebrate your new or next film. It's hard work that deserves to be shared to an audience.
Television Field Production and Reporting provides a comprehensive introduction to the art of video storytelling. Endorsed by the National Press Photographers Association, this book focuses on the many techniques and tools available in today s digital landscape, including how drones and miniaturized technology can enrich the storytelling process. The new edition of Television Field Production and Reporting is an absolute must in this visually oriented, rapidly changing field. At its core, visual storytelling helps transmit information, expose people to one another, and capture and communicate a sense of experience in unforgettable ways. This edition reflects, through practitioners' eyes, how to achieve those goals and excel as a professional, whatever the medium at hand, even as changing technology revises the storyteller s toolkit. This edition emphasizes digital and emerging media, and includes new color photography relevant to contemporary visual storytelling and reporting. It also features important updates regarding digital media law which affect anyone who records and/or disseminates digital media content, whether in private, on television, the web, via social networking sites, or in commercial venues. The seventh edition of Television Field Production and Reporting stresses the mastery of innovative storytelling practices in video programming as far ranging as electronic press kits, multi-camera production, stylized programs, corporate video, raw documentaries, and real time cinema verite."
Sound Production introduces students to applying the processes of audio techniques within the sphere of media production. Presuming no prior technical knowledge, Andrew Lansley focuses on universal techniques that will work across all contemporary software and be of use to those needing to work with sound for radio, TV, film, videogames and websites.
The format of the text follows a simple structure broken down into three main parts:
The book includes masterclasses from professionals in each field including amongst others:
It is supported by a continually updated companion website providing further source material and exercises.
With realistic examples of both effective and ineffective methods of communication, this unique video demonstrates both how to build rapport with patients and develop therapeutic communication skills.
In Language and Production, Gyorgy Markus presents us with a pro- found critique of contemporary social theory: of the philosophy and methodology of the social sciences; of the philosophy of language; of hermeneutics and critical theory; and finally, of Marx and of Marxisms. The sweep of Markus' project is complemented by the extraordinary detail of his analysis and the elaborately developed argument which gives the work its clear logical structure: it is a dialectical work. Markus begins with a critique of the paradigm of language and of that scientific ra- tionality modeled on language, as frameworks for the understanding of social reality, and for a rational 'science of society' . After revealing what he takes to be the essential failure of that paradigm in its positivist ver- sion (in the work of Sir Karl Popper, who, he argues, remains within the positivist framework despite his differences with other positivists) - Markus examines the alternative interpretations of that paradigm in the hermeneutic tradition from Dilthey through Heidegger and Gadamer, and then in the structural anthropology of Claude Levi-Strauss and in the philosophy of language of Ludwig Wittgenstein. In all of these approaches, Markus sees a systematic flaw in the at- tempt to frame human action as one or another form of linguistic prac- tice, or even to read human self-constitution as essentially linguistic.
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