Addresses issues of power and diversity, and describes how the production team for Houston's play about Amerasian experience wrestled with the problem of "what is represented and who is authorized to represent it." Explains the reasons for the close attention to detail, and cites examples in which authenticity had to be sacrificed for…

Explores the braille production and distribution activities of the National Library Service (NLS) for the blind and physically handicapped. Discussion covers how titles are chosen for production in Braille, how a book is produced, responsibilities and activities of the Production Control Section of the NLS, and how patrons can find out if a title…

Discusses why new systems and processes are needed in the development of multimedia training products. Highlights include: benefits of object-oriented design; the new system of development based on models, databases, and tools; a comparison of the craft process and the new process of development; and the transition to better quality, faster, more…

Offers tips on how to talk to actors in a rehearsal. Suggests describing rather than evaluating, speaking provisionally, encouraging collaboration, and showing enthusiasm through body language. (PRA)

Discusses methods for incorporating video into hypermedia programs. Knowledge representation in hypermedia is explained; video production techniques are discussed; comparisons between linear video, interactive video, and hypervideo are presented; appropriate conditions for hypervideo use are examined; and a need for new media research is…

Offers tips on producing high school musical revues. Discusses selecting a theme, choosing the music, dealing with copyright, creating the narrative, and designing the sets, lights, and costumes. (SR)

Presents an account of how one English teacher taught William Shakespeare's "Othello" through dramatics in a challenging way. Considers how teachers of drama might discuss props, stage directions, and the proper handling of Desdemona's handkerchief. Explains how teachers should try to take the plays from "page to stage." (HB)

Describes how graduate students at Regent University have experimented with the entertainment-education strategy to produce pro-social films and videos. Begins with a history of how the concept of entertainment-education evolved in popular films/videos; discusses examples of such films/videos. Analyzes a collection of short film/video productions…

Shows how a first-grade class explored the activities that are completed by people who design products, develop production systems, use materials and machines to make goods, and market the output from manufacturing plants. (JOW)

Describes how to more effectively communicate the visual element in video and audiovisual materials. Discusses identifying a central topic, developing the visual content without words, preparing a storyboard, testing its effectiveness on people who are unacquainted with the production, and writing the script with as few words as possible. (AEF)

Describes a technology-based research pilot project undertaken by The Commonwealth of Learning with Jamaica and Ghana to investigate the use of video in demonstrating farming techniques. Maintains that video production done at the regional level will allow farmers to relate to information relevant to their own agricultural situations. (Contains 3…

Describes the development of production requirements and technical specifications for a microfilm-to-digital conversion project that digitized early English books printed between 1475-1700. Discusses the Internet interface used for access; MARC records; indexing; partnerships with libraries and universities; scanning; database design; and quality…

Describes how two high school theatre students and the author negotiated preparation, rehearsal, performance, and reflection as they developed and performed Invisible Theatre scripts addressing their school's lunchroom (mis)behavior of excessive litter. Notes that Invisible Theatre is a public theatre which involves the public as participants in…

Suggests that a director who remembers what it was like to be a beginner is better equipped to help students separate craft from impulse than one who has not been on stage. Discusses starting on time, playing games, teaching focus, giving notes honestly, and using resistance. (RS)

Explains the development of a taxonomy of learner types in order to conduct an analysis of an introductory multimedia production course for preservice instructional design professionals. Discusses the value of having a general description of people entering a media production course that helps instructors identify their audience. (Author/LRW)