Outlines the structural characteristics of transactions which substitute video linkage for face-to-face communication, including time, space, visual conventions, and participant behavior. Suggests why this form of electronic interconnection will probably continue to grow in use and complexity. (JMF)

Provides an apparatus for the analysis and evaluation of television by categorizing the existential media factors such as light, two- and three-dimensional screen space, time-motion, and sound. The correlation of one factor, time, with experiental phenomena such as instantaneousness and irrevocability of the moment and the complexity of the…

Describes how television viewing encourages nonrationality, alienation, idiocy, dependency, deindividuation, consumer lust, and hyperkinesis, and provides a framework for a critical response to the pervasive force of television. (JMF)

Suggests that individuals may differentially identify with and learn from media presentation in terms of whether the images are structured as real or fictional events, and that, independent of the inherent real or fictional structure of the given events, the television format has a fictionalizing capacity in and out of itself. (JMF)

During December 1980 a five-member delegation from the Beijing (Peking) Broadcasting College's Communication Education Department visited comparable U.S. university departments. Author interviewed Zhu Yujun, only woman in the delegation, who lectures on film production in the department of television production. (PD)

Discusses a study of the neurophysiological effects of television viewing and their impact on learning. Study of brain waves while viewing indicates that the brain switches off from any analytical processing of the messages. (JMF)

Examines the divergent critical methods that have been used to unravel the complex aspects of television programing in an attempt to understand television in American culture. Proposes the analysis of television content as it relates to cultural history in order to discover "an ultimate sense of reality in America." (JMF)

Follows the evolution of the docudrama as a blend of fact and fiction, dramatizing events and people in recent history. Examines and characterizes the antecedents of this form, and explores the docudrama's role as a catalyst for social awareness and its potential problems related to ethical and legal precedents. (JMF)

Presents a response to the paper presented before the 18th Congress of CILECT which attacked American imperialism through the media. (MH)

Presents a sample of college and university screenwriting programs for writers and directors. Includes opinions of faculty and professionals in the field of writing on the specific objectives of screenwriting courses, as well as methods of teaching. (JMF)

Examines some characteristics of television which are shown to make it an art form distinctive from film. The use of the small screen, the close up, time, and movement in video are discussed to suggest that film and video are different forms of expression, and that each has a distinctive contribution to make to our visual language. (JMF)

Reviews a recent survey by the National Endowment for the Arts and the American Film Institute designed to determine the pedagogical and scholarly needs of the field as assessed by college and university cinema and television teachers. (MH)

Reports on the visit of five American filmmakers to the People's Republic of China in 1979. Includes their observations of film and television facilities and reviews their meetings with actors, writers, directors, producers, archivists, historians, teachers, technicians, and other film workers and students. (JMF)

Recounts a paper presented to the 18th Congress of the Centre International De Liaison Des Ecoles De Cinema et Television (CILECT) in 1976. Contends that American interests are infiltrating countries which are unable to defend against such threats to their national identity and analyzes "Sesame Street" to illustrate this contention. (MH)

Details the Vienna Film School's program, including outlines of courses offered and projects required. Highlights the suggestions of three professional film directors who teach the program and a student participant. (JMF)