The term “video malaise” was coined by political scientist Michael Robinson in 1975 in reference to a hypothesis that viewership of televised public affairs programming results in an increased sense of malaise, or vague cynicism or detachment, regarding political institutions, processes, and actors. The rationale was based on a discernible decrease in the 1960s and
Video began as a technological innovation and changed the media landscape of mainstream network television around the globe forever. As the technology became more accessible to the consumer market, it developed a greater impact on independent filmmaking: “media arts centers” emerged in the 1970s and 1980s, as well as community media with the advent of
Video game art directors play a key role in every stage of the creation of a video game, from formulating concepts to supervising production. They work with 2D and 3D artists, animators, modelers, and other artistic staff to coordinate all the visual images used in a game. Video game art directors supervise both in-house and
Video game producers are the liaison between the creative side of video game development, and the business side of marketing and selling the final product. They oversee all steps and processes needed in the creation of a video game, including the hiring, training, and management of staff, checking to see that progress is proceeding according
Video game testers examine new or modified video game applications to evaluate whether or not they perform at the desired level. Testers also verify that different tasks and levels within a game function properly and progress in a consistent manner. Their work entails trying to find glitches in games and sometimes crashing the game completely.
Community video is one form of community media. It is best defined by its objective, which is to stimulate participation in public affairs. The defining phrase might be “with the people, not just about them.” John Grierson, in the late 1920s in the UK, began writing about its possibilities. His persuasive pen and leadership attracted
Video emerged as an important technology for law enforcement in the 1980s with the development of the small, affordable, battery-powered camcorder (a single-unit camera and recorder). Among its early uses were in closed-circuit TV (CCTV) surveillance, crime scene documentation, drunk-driver testing, the taping of confessions, officer training, and public information. Technological advances have upgraded these
“Lights! Camera! Action!” aptly summarizes the major responsibilities of the music video director. Directors are well known for their part in guiding actors, but they are involved in much more—casting, costuming, cinematography, lighting, editing, and sound recording. Music video directors must have insight into the many tasks that go into the creation of a music
Video games are a prevalent and profitable facet of the modern media entertainment industry. Although children (anyone under the age of 18) comprise only 31 percent of the $10 billion US video game market, their numbers are increasing. Whereas in the 1990s, only 60 percent of middle-school-aged children reported playing video games on a consistent
Music video editors perform an essential role in the music industry. They take an unedited draft of film or videotape and use specialized equipment to improve the draft until it is ready for viewing. It is the responsibility of the video editor to create the most effective product possible that reflects the intentions of the