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Spaces of television: Production, site and style

电视空间：制作、场地和风格

基本信息

批准号：
AH/H018662/1
负责人：
Jonathan Bignell
金额：
$ 105.43万
依托单位：
University of Reading
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2010
资助国家：
英国
起止时间：
2010 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FH018662%2F1
关键词：
Spaces television Production site style

项目摘要

The project concerns television fiction produced in the UK from 1955-94. It will analyse how the material spaces of production (in TV studios and on location) conditioned the aesthetic forms of programmes, and how fictional spaces represented on screen negotiated the opportunities and constraints of studio and exterior space, film and video technologies, and liveness and recording. Specific foci for the research include BBC studios in London and the regions, the sound-stages at Elstree where programmes for ITV were made, and location shooting of drama series and serials in the period. Genres of programme studied include popular drama such as the police and adventure series, science fiction, period costume drama and sitcom. The research will involve significant archival work, and will produce a historiography of production spaces in British television and connect this spatial and institutional history with a historiography of television style. Fictional space will be understood as a component of mise-en-scene, where the material space of production impacts on modes of performance, styles of camera work, and the significance of sound environments and visual design. Material spaces of production will be understood as a component of the economic, institutional and political histories of British television, where the availability of production space, its architectural design and resourcing, technologies of camera and sound, and the cultural meanings of these conditions of production changed over time and were negotiated among professional personnel in the television industry.One strand of this research concerns the aesthetic specificity of television, in terms of its conventions of spatial representation. Since some of the technologies and practices of representing space were assimilated from cinema (e.g., using film studios, location shooting practices, cameras and directors) the research includes comparative work by one PhD student (Leicester) on the range of production practices and aesthetic codes of mise-en-scene in videotaped and filmed television, where televisual and cinematic conventions were negotiated and in dialogue with each other. The student will study the realisation and representation of space in telefantasy drama, a genre where representations of the alien and familiar, and the past, present and future have been aesthetically and materially significant. Studio-shot television fiction using video technologies was argued to have its own aesthetic, and this debate will be researched by one PhD student (Glamorgan) with a focus on how the changing uses of the studio impacted on the performance styles of actors. One PDRA (Smart, Reading) will trace the detail of resourcing and use of production spaces for programmes, their technologies, production practices and personnel, with a focus on directing practices. The other PDRA (Panos-Horritt, Reading) will focus on theoretical and historiographic debates about the aesthetics and histories of television space, conducting comparative studies across genres, production institutions and periods in order to develop the larger theoretical and methodological framework of the research by means of case studies. The research will include gathering testimony by TV production staff and performers about their experience of spatial opportunities and constraints.The project's outcomes will include authoring and joint-authoring journal articles and book chapters. The postdoctoral researchers will be the lead editors of an edited collection of chapters, a journal special issue and the authors of several articles and chapters. The Investigators and PhD students will also publish in these outlets and elsewhere. Outcomes will also include two one-day symposia and one international conference, and engagement with appropriate resource holders and industry audiences. An existing network of academics and archivists (the Southern Broadcasting History Group) will advise on the project.

该项目涉及1955年至1994年在英国制作的电视小说。它将分析制作的物质空间（在电视演播室和现场）如何制约节目的美学形式，以及屏幕上呈现的虚构空间如何协商演播室和外部空间，电影和视频技术，以及活力和记录的机会和限制。研究的具体重点包括英国广播公司在伦敦和各地区的演播室、英国独立电视台在埃尔斯特里制作节目的摄影棚，以及这一时期戏剧系列和连续剧的外景拍摄。研究的节目类型包括流行戏剧，如警察和冒险系列，科幻小说，古装剧和情景喜剧。这项研究将涉及重要的档案工作，并将产生在英国电视生产空间的史学，并连接这个空间和机构的历史与电视风格的史学。虚构空间将被理解为场景中的一个组成部分，其中生产的材料空间影响表演模式，摄影作品的风格以及声音环境和视觉设计的意义。生产的物质空间将被理解为英国电视的经济，制度和政治历史的一个组成部分，其中生产空间的可用性，其建筑设计和资源，摄像机和声音技术，这些生产条件的文化意义随着时间的推移而改变，并在电视行业的专业人员之间进行了协商。电视的特殊性，就其空间表现的惯例而言。由于一些表现空间的技术和实践是从电影中吸收的（例如，利用电影制片厂、外景拍摄实践、摄像机和导演），该研究包括一名博士生（莱斯特）对录像和电影电视中现场拍摄的制作实践和美学准则的范围进行的比较工作，其中电视和电影的惯例是相互谈判和对话的。学生将学习空间的实现和表现在电视剧，一个流派，其中外星人和熟悉的，以及过去，现在和未来的表现已经美学和物质上的重要性。使用视频技术的演播室拍摄的电视小说被认为有自己的美学，这场辩论将由一名博士生（格拉摩根）进行研究，重点是演播室的不断变化的用途如何影响演员的表演风格。一个PDRA（Smart，阅读）将跟踪资源的详细情况以及节目制作空间的使用、技术、制作做法和人员，重点是指导做法。另一个PDRA（Panos-Horritt，阅读）将专注于关于电视空间美学和历史的理论和史学辩论，进行跨类型，生产机构和时期的比较研究，以通过案例研究开发更大的理论和方法框架。该研究将包括收集电视制作人员和表演者关于空间机会和限制的经验的证词。该项目的成果将包括撰写和联合撰写期刊文章和书籍章节。博士后研究人员将是编辑的章节集，期刊特刊和几篇文章和章节的作者的主编。研究人员和博士生也将在这些网点和其他地方发表。成果还将包括两个为期一天的专题讨论会和一个国际会议，以及与适当的资源持有人和行业受众的接触。一个现有的学者和档案管理员网络（南方广播历史小组）将为该项目提供咨询。