Wyniki wyszukiwania - Biblioteka Nauki

1

Logistyka redakcji telewizyjnej

100%

Koralewski M.

Logistyka

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2003

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tom Nr 5

56-58

PL

Telewizja należy do najszybszych mediów. Emisja materiału filmowego następuje zwykle tego samego dnia co jego nakręcenie, toteż umiejętność błyskawicznego podejmowania decyzji, analitycznego myślenia i dobrze działająca logistyka produkcji informacji telewizyjnych są niezbędne podczas sprawnej pracy redakcji Teleskopu.

2

Profesor Janusz Groszkowski inspirator i współtwórca badań nad telewizją

100%

Karwowska-Lamparska A. , Zieliński A.

Przegląd Telekomunikacyjny + Wiadomości Telekomunikacyjne

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2010

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tom nr 10

1647-1654

3

Profesor Stefan Manczarski - pionier polskiej telewizji

100%

Karwowska-Lamparska A.

Przegląd Telekomunikacyjny + Wiadomości Telekomunikacyjne

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2009

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tom nr 5

168-169

4

Rewolucji w telewizji nie będzie

100%

Zając B.

Panoptikum

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2011

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nr 10(17)

149-161

EN

The article examines a complex alliance of the form of audio-visual essay and the medium of television. Starting from the early 1960s television was criticized from the positions of modernist authorial cinema as a medium responsible for the cultural degeneration. Surprisingly only one decade later the same medium/institution became a harbor for many new wave authors such as Alexander Kluge or Jean-Luc Godard giving them opportunity to produce highly experimental, critical works. The ‘cool medium’ functioned here not only as a platform for production and exhibition, but was also conceptualized, presented self-reflexively. The article echoes some of the most important contexts, institutional and aesthetic, crucial for understanding the emergence of subversive essayistic forms in the programming of public and commercial networks since the early 1970s. Through some case studies it also tries to answer the question of the extend to which we can describe this artistic attempts as subversive.

5

Użycie telewizji. Przypadek czechosłowackiej nowej fali

80%

Świętochowska G.

Panoptikum

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2011

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nr 10(17)

196-211

EN

The authors interested in Czechoslovak New Wave as an important development in the history of European cinema usually focus on juxtaposition of stylistics, creative methods, subject-matters, allowing for synthetic apprehension of the cinematic material (with better or worse results), which, depending on the adopted criterion of selection, includes up to several dozen films created from 1963 to 1970.

6

Trans czy misja?

80%

Doda-Wyszyńska A.

Panoptikum

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2011

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nr 10(17)

51-61

EN

Nowadays we are summoned to be in the state of permanent metastability, favorable to an ordering from a position of strength, dictate of power. It seems that transmission (especially an online one) consist mainly in mechanism of projection. In the offline world we are living in our „communication communities”, to use Stanley Fish’s expression. Interpretations of information flowing between us are strictly dependent on the institutional environment in which we live. When we move to the online world, we cannot even realize all the transmission distortions (anonymity of internet users). Transmission seems to be the term appropriated by the “ideology of the direct relation”, although the “direct relation” is associated more with the opposite of the ideology as subordination of life to an idea imposed by the community, having the nature of a rigid rule. Transmission is not a word that is formed by simple compound two other words: trans (to go beyond) and mission (task). What, after analyzing the concepts – trans and mission – will change in our perception of the “transmission”? We are now urged on to a trance (“being beyond”), but dissuaded from a mission (the task related to some common telos)?

7

Instytut Łączności kolebką polskiej telewizji

80%

Karwowska-Lamparska A.

Telekomunikacja i Techniki Informacyjne

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2009

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tom nr 3-4

44-57

PL

Opisano początki telewizji w Polsce. Omówiono prowadzone pierwsze prace badawcze, prezentowane na wystawie w Związku Nauczycielstwa Polskiego, a także nadawanie pierwszych programów z eksperymentalnego studia w Instytucie Łączności przy ul. Ratuszowej. Scharakteryzowano następne kierunki badań oraz opracowywane urządzenia. Podkreślono zaangażowanie pracowników przy wykonywaniu tych zadań.

EN

The beginnings of television in Poland are discussed. The first research works presented during the exhibition At the Union of Polish Teachers building and the first TV transmissions from experimental studio at NIT located at Ratuszowa Street in Warsaw are described. Directions of the next research as well as early equipment are characterized. The enthusiasm and involvement of employees crucial for success are stressed.

8

„Era antybohaterów” w amerykańskiej produkcji telewizyjnej. Próba diagnozy nowego zjawiska na mapie kultury popularnej

80%

Major M.

Panoptikum

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2011

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nr 10(17)

92-108

EN

The paper circulates around the question of why do we want to watch anti-heroes in American television series. It answers this question indirectly by defining and characterizing the most prominent male and female anti-heroes, who are very popular especially among the youngest fans of TV series. Tony Soprano, Brian Kinney, Nancy Botwin and Jackie Peyton are analyzed here as representatives of this new kind of characters, who blaze new trail in popular culture. The paper concludes with some remarks on the relation of superhero vs. anti-hero and speculation as to who wins, as well as reflections on the future of American television series and their place on the map of popular culture.

9

Widz zaangażowany – uczestnik teleturnieju

80%

Galanciak S.

Panoptikum

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2012

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nr 11(18)

153-168

EN

The article is an attempt to describe the role of quiz shows and game shows in the process of creating image of television as important social space. Game show and quiz show belong to a genre based on rhetorical model of communication, prepared for having strongly interactive relationship with their viewers, presented as important participant (audience gathered in the studio) and the main hero of the spectacle (competitors). This model is strongly grounded in oral culture with its ritualization of every action and gesture, as well as mythologisation of presented situations. It helps to create the image of the medium as a main upholder of axionormative order and of viewer’s community integrity; the viewer in this symbolic construction is designated for the role of member of this community, gathered in space of the television agora.

10

Serialowe emancypacje

80%

Bokiniec M.

Panoptikum

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2011

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nr 10(17)

109-122

EN

The article dwells upon the emancipatory potential of contemporary television, especially in the form of so called new generation of television series. The paper begins with the summary of classic criticisms directed against traditional television as expemplified in Theodor Adorno’s theory in order to illustrate the differences between traditional and contemporary television. The main objection against traditional TV forms was their anti-emancipatory direction. The next step is the characterization of so called new TV and the features of new-shows as well as explanation of the categories of discourse and emancipation. It is followed by the subjective survey of popular contemporary TV series in view of changes in representation of excluded or non-normative groups, which concludes with the claim that the predominant social world in neo-series is the “post-” world in which social, racial, gender etc. differences between people become irrelevant. The paper concludes with the question of whether this is a vision of emancipated and anticipated world or simply a strategy to neutralize and make invisible actual and real social and political conflicts.

11

Rozumienie telewizji bez telewizji: studium na temat zawieszonego oglądania telewizji

80%

Boyns D. , Stephenson D.

Panoptikum

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2011

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nr 10(17)

21-36

12

Boogiepop Phantom jako przykład telewizyjnego progresywnego „anime”

80%

Grela Ł.

Panoptikum

|

2011

|

nr 10(17)

124-136

EN

Japanese animation (anime) is one of the most important phenomena of contemporary popular culture. Inspirations from anime can be seen in Asian and Western feature cinema, Western animation, Western comic books and both Asian and Western video games, cultural and ideological aspects of anime and anime fandom (“otakus”) become objects of intense studies. However, as scholarly interest in anime grows, various technical and terminological difficulties become apparent, not least among them the problem of genre. Is anime a film genre or a form of animated medium, are characteristic types of anime (such as “magical girl” or “mecha”) genres, sub-genres or simply “types”? And what about classic film genres that appear in Japanese animation, like science fiction, horror, crime drama, where do they fit? These questions multiply in case of a unique and special type of Japanese animation known as “progressive anime”, paradoxical and imprecise group of works distinguished by breaking conventions, artistic, aesthetic and intellectual innovations, by turning familiar tropes and clichés on their head and, at least sometimes, presenting ideologically subversive and progressive message.

13

The Wire. Studium przypadku

80%

Drygalska E.

Panoptikum

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2012

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nr 11(18)

73-89

EN

The paper addresses the issue of academic interest in the highly acclaimed HBO series The Wire. While much media and social studies literature has analyzed the series itself, relatively little has been written about community the acafans, who in the rise of web 2.0 replaced the the subculture known colloquially as nerds. Created in 2002 by David Simon “the best show in the history of American television” was firstly rejected by the HBO viewers but then fully embraced by TV critics and scholars. Academic fans created unprecedented fandom around The Wire and in consequence they managed to bring the program back into popular, general interest.

14

Transmisja pasożytnicza

80%

Ilnicki R.

Panoptikum

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2011

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nr 10(17)

62-72

EN

In this article I have applied Michel Serres’s theory of parasite culture to the analysis of technical media. Technology changes human relations forming new regulations in the field of culture. I have shown that parasitic transmission is an constitutive mode of being of technical media. I have illustrated my theoretical arguments by the examples of everyday media usage. I suggest that parasitic transmission is not something to be judged morally. Instead, I propose to look at it as a mechanism embedded in technoculture. I also draw consequences from that statement later in the summary of the paper.

15

Dobór i prezentacja wiadomości w serwisach informacyjnych – porównanie kryteriów wyboru i sposobu przedstawienia w szwedzkiej i polskiej telewizji publicznej

80%

Chacińska M.

Panoptikum

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2011

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nr 10(17)

38-50

EN

Delivering news is one of the main and most prioritised tasks of the public-service media. Both Polish Telewizja Polska and Swedish Sveriges Television have very similar goals concerning providing information to the public: it should be up-to-date, comprehensive and versatile as well as impartial and objective. On the other hand, Poland and Sweden represent different cultures and languages and two different approaches to public broadcasting connected e.g. with the way the institutions are financed. SVT is fully financed by TV-licence while in TVP the TV-licence supports only 12% of the enterprise. The purpose of this article is to analyse in what way the fulfilment of the principles concerning providing information is different or similar in two news programmes: Polish Wiadomości and Swedish Rapport. The article consists of the analysis of the content and presentation of the programmes broadcasted in two weeks of February and March in 2011. The analysis focused on two factors: news values that the stations use as criteria to choose the information and the way the news are presented.

16

Od tele-piekła do tele-utopii – kinowe opowieści o przyjemnościach i niebezpieczeństwach płynących z posiadania telewizora

80%

Konefał S. J.

Panoptikum

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2011

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nr 10(17)

164-182

EN

Television in the writings of academics associated with the counterculture became the subject of some passionate attacks. TV broadcast in the texts of Herbert Marcuse, Jean Baudrillard and Guy Debord was accused of manipulating people, blocking their intellectual development and boosting consumer desires. In 1980’s and 1990’s the thesis of the harmful influence of television became intercepted also by the cinema. Especially movies that used fantastic images and plots began to treat television as the devilish invention leading humanity towards destruction. The main attribute of the corruption of audiovisual media was not only the TV set, presented as the hellish object, but also the remote control, appearing in many plots of feature films as a weapon in the struggle for domestic dominance or even treated as an evil tool used by some unknown dangerous forces. This article analyzes three different fantastic visions of television, presenting this medium as an artifact associated with the anti-utopian, infernal and utopian connotations.

17

Tylko dla dzieci. Krótka historia filmów o Bolku i Lolku

70%

Sitkiewicz P.

Panoptikum

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2011

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nr 10(17)

137-148

EN

The article is a brief history of the most popular and the longest animated series in the history of Polish cinema and television: Bolek i Lolek (in English distributed as Jym & Jam or Bennie & Lennie), produced in Bielsko-Biała. The paper describes the origin of the cycle – from initial ideas, through a stage of designing the characters, to the premiere of first episode in 1964. Article also characterizes particular seasons of the show, reveals its evolution and reception, both in Poland and abroad. The paper presents series against the background of historical events in the People’s Republic of Poland as well as in the political context, as Bolek i Lolek played an important role in the discussion about duties and poetics of film art for children in communist system. At the end the article describes unsuccessful attempts to continue the series in a democratic Poland (including gay pride scandal).

18

Rynek telewizyjny w Polsce

70%

Dzierżyńska-Mielczarek J.

Studia Medioznawcze

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2014

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nr 1 (56)

101-113

PL

Współczesny kształt rynku telewizyjnego w Polsce wykreowały administracyjne decyzje podejmowane przez Krajową Radę Radiofonii i Telewizji w 1994 roku. Chociaż zmienił się ilościowy obraz tego rynku, to – przynajmniej na razie – w niewielkim stopniu – układ sił i pozycja na nim największych graczy. Stabilna wydaje się również wartość rynku telewizyjnego, mimo że zmalało znaczenie reklamy na rzecz sprzedaży dostępu do różnorodnych form dystrybucji treści telewizyjnych. Internet, który zrewolucjonizował modele biznesowe tradycyjnych mediów i sposób ich konsumpcji, wpływa także na telewizję. Przełamuje linearny model jej percepcji i zwiększa liczbę dostawców treści audiowizualnych oraz rozpowszechnianych treści.

EN

Contemporary structure of the Polish television market was created by administrative decisions made by the National Broadcasting Council in 1994. Although the quantitative picture of this market has changed significantly, the balance of power and the position of the major players – at least so far – has changed to only a little extent. The worth of the television market also seems stabledespite the decline in the importance of advertising in favour of selling the access to various forms of distribution of television content. The internet, which has revolutionised business models of the traditional media and methods of their reception, influences also the television. It breaks the linear model of its perception and increases the number of audio-visual and circulating content providers.

19

Władza24. Dziennikarz informacyjny w świecie polityki zmediatyzowanej

70%

Lisowska-Magdziarz M.

Kwartalnik Naukowy OAP UW "e-Politikon"

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2014

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nr 12

41-65

PL

Wielowymiarowe relacje pomiędzy mediami masowymi i polityką to istota zjawiska mediatyzacji polityki w liberalnych, wolnorynkowych społeczeństwach kapitalistycznych. Dziennikarze realnie oddziałują na procesy decyzyjne, spo-łeczną i polityczną agendę oraz kształtują społeczną percepcję polityki i polity-ków. Jednocześnie ich własny publiczny wizerunek i społeczna percepcja pro-fesji dziennikarskiej wpływają na wiarygodność profesji, określają warunki udziału dziennikarzy w procesach decyzyjnych oraz legitymizują ich prawo do tego udziału. Dziennikarz polityczny ma także istotną rolę w konstruowaniu i obiektywizacji społecznych reprezentacji istotnych zagadnień politycznych. Tematem tego artykułu są medialne skonwencjonalizowane praktyki reprezen-tacyjne dotyczące dziennikarzy politycznych oraz powstające na tym podłożu społeczne wyobrażenia o miejscu i roli dziennikarzy i ich relacjach z politykami.

EN

Multifaceted relationships between mass media and politics lie at the core of the phenomenon of mediatization of politics in the liberal, free-market, capitalist societies. Journalists do influence political decision-making, they contribute to the structuring of the social and political agenda, and shape the social perception of politics and of politicians. Simultaneously, their own public image and the social perception of journalist profession do influence profession’s credibility, delimit the conditions of journalists’ participation in decision-making processes and contribute to the legitimization of participation in the political power structures. Political journalist does also play a relevant role in construction and objectification of the social representations of different political problems. The topic of this article is conventionalized media representation practices concerning journalists and resulting social representations of journalists and social perception of their relationships with politicians.

20

Media rosyjskie w okresie kampanii przed wyborami prezydenckimi

70%

Korn E.

Rocznik Prasoznawczy

|

2018

|

tom 12

95-104

PL

W artykule została przeanalizowana działalność mediów masowych, a szczególnie telewizji oraz mediów internetowych w okresie przedwyborczym i czasie samych wyborów prezydenckich w Federacji Rosyjskiej w 2018 roku. Zaprezentowano wyniki sondażu elektoratu, przyjrzano się warunkom, w jakich prowadzone były kampanie wyborcze kandydatów na prezydenta w mediach masowych oraz metodom współpracy ze środkami masowego komunikowania.