ADAPT

The Adoption of New Technological Arrays in the Production of Broadcast Television

Coordinatore	ROYAL HOLLOWAY AND BEDFORD NEW COLLEGE    more Spiacenti, non ci sono informazioni su questo coordinatore. Contattare Fabio per maggiori infomrazioni, grazie.
Nazionalità Coordinatore	United Kingdom [UK]
Totale costo	1˙680˙121 €
EC contributo	1˙680˙121 €
Programma	FP7-IDEAS-ERC Specific programme: "Ideas" implementing the Seventh Framework Programme of the European Community for research, technological development and demonstration activities (2007 to 2013)
Code Call	ERC-2012-ADG_20120411
Funding Scheme	ERC-AG
Anno di inizio	2013
Periodo (anno-mese-giorno)	2013-08-01   -   2018-07-31

 Partecipanti

#	participant	country	role	EC contrib. [€]
1	ROYAL HOLLOWAY AND BEDFORD NEW COLLEGE  Organization address address: EGHAM HILL UNIVERSITY OF LONDON city: EGHAM postcode: TW20 0EX contact info Titolo: Ms. Nome: Rosemary Cognome: Greaves Email: send email Telefono: 44178443019	UK (EGHAM)	hostInstitution	1˙680˙121.00
2	ROYAL HOLLOWAY AND BEDFORD NEW COLLEGE  Organization address address: EGHAM HILL UNIVERSITY OF LONDON city: EGHAM postcode: TW20 0EX contact info Titolo: Prof. Nome: John Cyril Paget Cognome: Ellis Email: send email Telefono: 447776000000 Fax: 441784000000	UK (EGHAM)	hostInstitution	1˙680˙121.00

Mappa

 Word cloud

Esplora la "nuvola delle parole (Word Cloud) per avere un'idea di massima del progetto.

 Obiettivo del progetto (Objective)

'Since 1960, the television industry has undergone successive waves of technological change. Both the methods of programme making and the programmes themselves have changed substantially. The current opening of TV’s vast archives to public and academic use has emphasised the need to explain old programming to new users. Why particular programmes are like they are is not obvious to the contemporary viewer: the prevailing technologies imposed limits and enabled forms that have fallen into disuse. The project will examine the processes of change which gave rise to the particular dominant configurations of technologies for sound and image capture and processing, and some idea of the national and regional variants that existed. It will emphasise the capabilities of the machines in use rather than the process of their invention. The project therefore studies how the technologies of film and tape were implemented; how both broadcasters and individual filmers coped with the conflicting demands of the different machines at their disposal; how new ‘standard ways of doing things’ gradually emerged; and how all of this enabled desired changes in the resultant programmes. The project will produce an overall written account of the principal changes in the technologies in use in broadcast TV since 1960 to the near present. It will offer a theory of technological innovation, and a major case study in the adoption of digital workflow management in production for broadcasting: the so-called ‘tapeless environment’ which is currently being implemented in major organisations. It will offer two historical case studies: a longditudinal study of the evolution of tape-based sound recording and one of the rapid change from 16mm film cutting to digital editing, a process that took less than five years. Reconstructions of the process of working with particular technological arrays will be filmed and will be made available as explanatory material for any online archive of TV material .'