標(biāo)題: Titlebook: European Radio Documentary; A History of the For Tereza Reková Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive l [打印本頁] 作者: Deflated 時(shí)間: 2025-3-21 19:56
書目名稱European Radio Documentary影響因子(影響力)
書目名稱European Radio Documentary影響因子(影響力)學(xué)科排名
書目名稱European Radio Documentary網(wǎng)絡(luò)公開度
書目名稱European Radio Documentary網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱European Radio Documentary被引頻次
書目名稱European Radio Documentary被引頻次學(xué)科排名
書目名稱European Radio Documentary年度引用
書目名稱European Radio Documentary年度引用學(xué)科排名
書目名稱European Radio Documentary讀者反饋
書目名稱European Radio Documentary讀者反饋學(xué)科排名
作者: 態(tài)學(xué) 時(shí)間: 2025-3-21 22:36 作者: 榨取 時(shí)間: 2025-3-22 01:30 作者: 控訴 時(shí)間: 2025-3-22 06:51
The Third Coast International Audio Festival,tors, journalists, reporters and so on; share their stories; attend workshops; discuss audio production; and celebrate audio storytelling in all forms at the TCIAF. This chapter deals with the history of TCIAF, describes its competitive nature and compares it with the IFC.作者: 去才蔑視 時(shí)間: 2025-3-22 09:24 作者: right-atrium 時(shí)間: 2025-3-22 13:38 作者: right-atrium 時(shí)間: 2025-3-22 17:54 作者: institute 時(shí)間: 2025-3-22 22:18 作者: Lumbar-Stenosis 時(shí)間: 2025-3-23 02:24 作者: 爆炸 時(shí)間: 2025-3-23 08:57
Prix Italia,is festival is very prestigious; nevertheless, unlike at . the laureate is not selected by all participants but solely by an appointed festival jury. This chapter addresses the history, the prestigious character of the event and compares it to the IFC.作者: squander 時(shí)間: 2025-3-23 11:30
documentarians from around the world), the book discusses the Prix Europa, Prix Italia, the Third Coast International Audio Festival, and the HearSay Audio Arts Festival. The book tells the story of people who chose sound as their lifestyle and who spread their passion worldwide...?.978-3-031-57187-9978-3-031-57185-5作者: 生銹 時(shí)間: 2025-3-23 16:11 作者: 感情脆弱 時(shí)間: 2025-3-23 19:21 作者: GUISE 時(shí)間: 2025-3-24 02:15
Imagination in Radio,n aspect often associated with audio production. Reková explains why the “blindness” is an advantage and addresses specific radio grammar and its methods of inspiring listeners’ imagination. Stories make us happy or sad—they make us feel emotions. Our feelings do not know the difference between fict作者: Acclaim 時(shí)間: 2025-3-24 06:17 作者: 多樣 時(shí)間: 2025-3-24 07:46
Radio Feature,r when the term feature was used for the first time is subject to discussion. The ambiguity of the definition permeates the entire history of the feature genre. Put simply, a feature may be seen as an artistic piece of opinion journalism or as an artistic documentary programme that uses specific cha作者: ARC 時(shí)間: 2025-3-24 14:20
Documentary vs. Feature,be interchanged on the international scene, which may cause terminological chaos. Reková compares the genres of the documentary and feature and brings a testimony of experienced and prominent radio creators about these significant fields of media production.作者: entail 時(shí)間: 2025-3-24 18:24
The Discussed Topics of the Radio Documentary and Feature,-points regarding the documentary and feature making. However, you can find a plenty of useful tips and tricks for recording a documentary. Reková offers basic information about the narration in podcasts with a special attention to documentary podcasts. She also describes the differences in European作者: 軍火 時(shí)間: 2025-3-24 21:15 作者: 貪心 時(shí)間: 2025-3-25 01:25
Prix Italia,ing. . was founded on the island of Capri in 1948 by the Italian public broadcasting station RAI and has thus been one of the oldest media awards. The festival travels around the country, and each year it takes place in a different Italian city with a long cultural tradition. The prize awarded at th作者: 構(gòu)想 時(shí)間: 2025-3-25 04:00
The Third Coast International Audio Festival, every autumn the Hyatt Regency McCormick Place hotel in Chicago sees approximately 800 participants from the audio producing field. They work as creators, journalists, reporters and so on; share their stories; attend workshops; discuss audio production; and celebrate audio storytelling in all forms作者: 拋棄的貨物 時(shí)間: 2025-3-25 07:54 作者: languid 時(shí)間: 2025-3-25 13:43
https://doi.org/10.1007/978-3-030-28258-5 author of the book, Tereza Reková, explains her motivations to write the text and whets the readers appetite. She also addresses the terms . and . and offers a short characteristics of all the issues she deals with further in the book.作者: COLIC 時(shí)間: 2025-3-25 17:44
Studies in Digital Politics and Governancebe interchanged on the international scene, which may cause terminological chaos. Reková compares the genres of the documentary and feature and brings a testimony of experienced and prominent radio creators about these significant fields of media production.作者: flaggy 時(shí)間: 2025-3-25 20:34 作者: enterprise 時(shí)間: 2025-3-26 03:12
Documentary vs. Feature,be interchanged on the international scene, which may cause terminological chaos. Reková compares the genres of the documentary and feature and brings a testimony of experienced and prominent radio creators about these significant fields of media production.作者: CAMP 時(shí)間: 2025-3-26 05:40 作者: 北極熊 時(shí)間: 2025-3-26 12:27
http://image.papertrans.cn/e/image/316901.jpg作者: avulsion 時(shí)間: 2025-3-26 14:22 作者: Projection 時(shí)間: 2025-3-26 20:24 作者: SIT 時(shí)間: 2025-3-26 21:19
My Perspective,The author of the book presents what she personally finds interesting about documentary production and why she deals with it professionally. She explains the basic rules of interviewing and expresses her passion for the craft.作者: jaunty 時(shí)間: 2025-3-27 04:10 作者: installment 時(shí)間: 2025-3-27 06:32 作者: AUGUR 時(shí)間: 2025-3-27 12:42
978-3-031-57187-9The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: synovial-joint 時(shí)間: 2025-3-27 15:14
https://doi.org/10.1007/978-3-030-28258-5 author of the book, Tereza Reková, explains her motivations to write the text and whets the readers appetite. She also addresses the terms . and . and offers a short characteristics of all the issues she deals with further in the book.作者: organic-matrix 時(shí)間: 2025-3-27 21:28
Policy for Networks, Services, Digital Goodsn aspect often associated with audio production. Reková explains why the “blindness” is an advantage and addresses specific radio grammar and its methods of inspiring listeners’ imagination. Stories make us happy or sad—they make us feel emotions. Our feelings do not know the difference between fict作者: 拱形面包 時(shí)間: 2025-3-27 22:55
Christian Czarnecki,Gunnar Authries—storytelling is an integral part of it. The concepts of “truth” and “reality” are deemed problematic in terms of documentary production. Reaching “absolute truth” is virtually impossible in a documentary, despite it being presented as the ultimate motivation by documentary makers. The message o作者: 泰然自若 時(shí)間: 2025-3-28 05:18 作者: monochromatic 時(shí)間: 2025-3-28 07:16
Studies in Digital Politics and Governancebe interchanged on the international scene, which may cause terminological chaos. Reková compares the genres of the documentary and feature and brings a testimony of experienced and prominent radio creators about these significant fields of media production.作者: Condescending 時(shí)間: 2025-3-28 12:12
https://doi.org/10.1007/978-3-031-22956-5-points regarding the documentary and feature making. However, you can find a plenty of useful tips and tricks for recording a documentary. Reková offers basic information about the narration in podcasts with a special attention to documentary podcasts. She also describes the differences in European作者: CLAP 時(shí)間: 2025-3-28 16:15 作者: aquatic 時(shí)間: 2025-3-28 20:45 作者: MERIT 時(shí)間: 2025-3-28 23:02 作者: Deceit 時(shí)間: 2025-3-29 06:18
https://doi.org/10.1007/978-3-030-01833-7audio production, inspire each other and make business contacts for the future. The first edition of . took place in November 2014, when 140 attendees from all over the world arrived at Kilfinane. . combines approaches to so-called creative audio both from the European point of view and from the ove作者: 較早 時(shí)間: 2025-3-29 08:14 作者: Forehead-Lift 時(shí)間: 2025-3-29 13:26
https://doi.org/10.1007/978-3-030-48810-9, however, that in the golden era of the feature genre, there were multiple directions or schools of feature. Braun preferred the one that, in essence, represented “writing with sound”, while others focused more on working with music or a smaller number of characters.作者: jungle 時(shí)間: 2025-3-29 16:55
Katsushi Ikeuchi,Daisuke Miyazakiimony of Peter Leonhard Braun, the founder of the IFC, who describes the very beginnings of feature making in Europe. Even though the conference celebrated 50?years of its existence in 2024, this book is the first ever to describe it in such great detail.作者: Neuropeptides 時(shí)間: 2025-3-29 21:54 作者: 平靜生活 時(shí)間: 2025-3-30 01:50
Radio Documentary,encompasses should, first and foremost, be objective: the documentary strives for balance and objectivity, with the maker staying on the background of the presented topic. Reková discusses the methods used for recording documentaries, the rules of their production, the characteristics of the genre a作者: SNEER 時(shí)間: 2025-3-30 07:26 作者: 轉(zhuǎn)折點(diǎn) 時(shí)間: 2025-3-30 09:10
The International Feature Conference,imony of Peter Leonhard Braun, the founder of the IFC, who describes the very beginnings of feature making in Europe. Even though the conference celebrated 50?years of its existence in 2024, this book is the first ever to describe it in such great detail.作者: chronicle 時(shí)間: 2025-3-30 12:22
