標(biāo)題: Titlebook: BBC Wildlife Documentaries in the Age of Attenborough; Jean-Baptiste Gouyon Book 2019 The Editor(s) (if applicable) and The Author(s) 2019 [打印本頁(yè)] 作者: 矜持 時(shí)間: 2025-3-21 18:25
書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough影響因子(影響力)
書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough影響因子(影響力)學(xué)科排名
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書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough被引頻次
書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough被引頻次學(xué)科排名
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書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough讀者反饋
書(shū)目名稱(chēng)BBC Wildlife Documentaries in the Age of Attenborough讀者反饋學(xué)科排名
作者: Benzodiazepines 時(shí)間: 2025-3-21 20:45 作者: 闡釋 時(shí)間: 2025-3-22 03:35 作者: Acetaminophen 時(shí)間: 2025-3-22 06:09 作者: Thymus 時(shí)間: 2025-3-22 10:12 作者: 窗簾等 時(shí)間: 2025-3-22 15:04
Showcasing Science, Showcasing Nature on BBC2,d content. This brief gave free rein to David Attenborough, as controller of the new channel, to establish new programme formats and content. Under Attenborough’s aegis, the . fronted by Desmond Morris brought wildlife television and ethology close together in a new, ‘professional’ approach to natur作者: 圖表證明 時(shí)間: 2025-3-22 20:08 作者: Campaign 時(shí)間: 2025-3-22 23:10 作者: Conspiracy 時(shí)間: 2025-3-23 04:06 作者: 牌帶來(lái) 時(shí)間: 2025-3-23 07:44
Afterword,wildlife to taking a more active role in environmental debates. This shift can be related to changes in the life sciences’ relationship to the environment with the emergence of the biodiversity movement in the 1990s, and the development of what has been called an endangerment sensibility. These chan作者: Narcissist 時(shí)間: 2025-3-23 13:02 作者: isotope 時(shí)間: 2025-3-23 15:54 作者: 周年紀(jì)念日 時(shí)間: 2025-3-23 20:27 作者: 冥想后 時(shí)間: 2025-3-23 22:22 作者: 祖先 時(shí)間: 2025-3-24 05:40 作者: Jogging 時(shí)間: 2025-3-24 08:01 作者: Archipelago 時(shí)間: 2025-3-24 12:45 作者: 謙卑 時(shí)間: 2025-3-24 16:07 作者: CURT 時(shí)間: 2025-3-24 20:24 作者: EXCEL 時(shí)間: 2025-3-25 01:15
Mirjana Maksimovi?,Vladimir Vujovi?ey are discussed in the light of the cultural repertoire of origin, amateur natural history and imperial big game hunting. Both relied on the construction of their front figures as personalities with audience appeal.作者: 能量守恒 時(shí)間: 2025-3-25 06:29 作者: geometrician 時(shí)間: 2025-3-25 09:08
2731-4359 tory of BBC wildlife and David AttenboroughThis book explores the history of wildlife television in post-war Britain. It revolves around the role of David Attenborough, whose career as a broadcaster and natural history filmmaker has shaped British wildlife television. The book discusses aspects of A作者: 音樂(lè)戲劇 時(shí)間: 2025-3-25 13:41 作者: 琺瑯 時(shí)間: 2025-3-25 19:11
and Beyond: Producing the Wildlife Blockbuster,ce of this new figure rendered the MOD necessary, for it established the claim that the telenaturalist could be trusted to produce objective knowledge of nature in front of the camera for the benefit of the watching public. The model instituted with . was perfected with the next two series, . (1979) and . (1990).作者: 我不重要 時(shí)間: 2025-3-25 23:05 作者: 中古 時(shí)間: 2025-3-26 02:50
Introduction,h objectivity and with nature. MODs make the case for wildlife documentaries to be seen as participants in the scientific endeavour. This book tries to understand how the way in which British wildlife television was practiced from the early 1950s to the early 2000s has become the accepted stereotype of how nature appears on-screen.作者: 古董 時(shí)間: 2025-3-26 06:29
,David Attenborough: The Early Years—Fashioning Zoological Expertise On-Screen, the first two . series, . (1954) and . (1955), to discuss their contribution to establishing Attenborough’s reputation as a successful programme maker within the BBC, and as a figure of zoological expertise whom audiences found trustworthy.作者: Adjourn 時(shí)間: 2025-3-26 10:50 作者: CLOUT 時(shí)間: 2025-3-26 16:12 作者: Handedness 時(shí)間: 2025-3-26 18:51 作者: bioavailability 時(shí)間: 2025-3-26 22:35 作者: flaggy 時(shí)間: 2025-3-27 02:38
Oxford Scientific Films: From Field Craft to Film Craft,e course of a decade, Oxford film-makers became central to wildlife television, turning camerawork into a key aspect of the narrative in wildlife films. OSF established a new standard for wildlife television, as described in the 1972 documentary . by Mick Rhodes.作者: 斗爭(zhēng) 時(shí)間: 2025-3-27 08:01 作者: 豎琴 時(shí)間: 2025-3-27 12:21 作者: 擋泥板 時(shí)間: 2025-3-27 17:00 作者: jarring 時(shí)間: 2025-3-27 20:53
978-3-030-19981-4The Editor(s) (if applicable) and The Author(s) 2019作者: AMPLE 時(shí)間: 2025-3-28 00:31
Jean-Baptiste GouyonOffers a unique look at ‘making of’ wildlife documentaries.Based on first-hand interviews conducted with David Attenborough.Tells the full story of BBC wildlife and David Attenborough作者: 場(chǎng)所 時(shí)間: 2025-3-28 04:34 作者: aspersion 時(shí)間: 2025-3-28 07:50
,X-ray Hazards — Diagnostic and Therapeutic,to find ways of convincing viewers that they can speak authoritatively on behalf of nature. The wildlife making-of documentary (MOD) is one of the means by which film-makers solicit trust from their audiences. By disclosing aspects of film-making, MODs redefine the relationship of wildlife films wit作者: Discrete 時(shí)間: 2025-3-28 12:45
Mirjana Maksimovi?,Vladimir Vujovi?s . (1934–1950) to introduce the notion that wildlife television is as much about television as it is about wildlife. The chapter then examines Peter Scott’s programmes produced by the BBC in Bristol, which led to the flagship series ., and Michaela and Armand Denis’s series of films shot in Africa.作者: 斑駁 時(shí)間: 2025-3-28 18:34
Christina Orphanidou,David Wongrogramme work, notably . (1953) and . (1953), contributed to creating a professional culture of television making, distinct from that of radio broadcasting and cinema. These two programmes placed the emphasis on television’s ability to show things and tell a story visually. The chapter then turns to作者: nullify 時(shí)間: 2025-3-28 20:09 作者: emulsify 時(shí)間: 2025-3-29 01:27
Scalable Computing and Communicationslture of wildlife film-making. This involved developing the use of film and other pre-recorded material at the expense of live studio sequences, and publicly presenting film-making as a valid form of production of natural historical knowledge. A key moment in this part of the story is the 1963 film 作者: 金盤(pán)是高原 時(shí)間: 2025-3-29 04:49 作者: cancer 時(shí)間: 2025-3-29 10:04
