We released our R&D roadmap for SHV at the STRL Open House . and IBC, and in Japan at CEATEC and events held by NHK. broadcasting and communications media". NHK STRL is now committed to pursuing such research. At the NHK STRL Open House, NHK STRL unveiled. 40kg. 20kg. 2kg. 8K content production. High quality content compliments the supremacy of 8K Super. Hi-Vision technology. Production.
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In March , the NHK Broadcasting Culture Research Institute conducted. “The Japanese and Television ” survey, a nationwide public opinion poll. ~. 80 years of NHK WORLD. Heisei 2. Heisei Showa Showa INTERNATIONAL . From the NHK Japanese Time Use Survey. Toshiyuki KOBAYASHI, Emi MOROFUJI, and Yoko WATANABE. NHK Broadcasting Culture Research Institute.
Should this not be a factor is favour of shooting looser rather than tighter shots? Looser shots of speakers would leave more space around the face for extras like captions, bugs and subtitles. Areas outlined in black show the size of the screen, the additional grey-outlined areas the screen size. On the other hand, BBC news uses relatively more purely graphical elements, using graphics full-screen perhaps with a background of generic still video.
When video and graphics are combined on-screen they are more often integrated. The methodology summarised here attempts to minimise the intervention of subjective 23 judgements by the observer. Thus it relies on actual measurement rather than estimations. The straightforward methodology is open to all who would seek to perform research on televi- sual images. This makes the area of objective research into visual expression open to a broader spectrum of participants and may lead to insights into more and more varied types and sources of images, this can only enrich our understanding of human visual expression.
A broader and methodologically consistent treatment of visual material which results in data sets which can be meaningfully compared should also lead to advances in theoretical understanding. Further to the methodological problems already outlined see 3 there are more fundamental theoretical problems which arise in the context of comparative work such as this.
Firstly, there is the assumption that shot-size is meaningful, that it acts as a semiotic resource, on top of this is the assumption that this semiotic resource is utilised similarly in both cultures. Until such problems can be resolved satisfactorily analysis must remain speculative.
As such it contributes to understanding how terms like those mentioned above might be usefully unpacked for analysis. It may be the case that the distances resulting from this study should be considered as marking the same social distance.
Without further experimentation it is impossible to know which might be closer to the truth but both possibilities must be entertained. There remains the task then of deciding how, and indeed if, CVD is related to typical social distances within a culture.
Any comparison between countries has to be contextualised by this knowledge as it is only in relation to the cultural norms that representations can be interpreted as close or distant. Further research Further work on social distance falls within the remit of other disciplines, anthropology, social psychology or certain areas of linguistics. Such intra-cultural comparisons, while necessarily circumscribed would avoid relying on SD data that may or may not exist.
It may also be possible to carry out experiments which use linguistically deculturated news stories as stimuli in an attempt to get at how, for example, Japanese viewers assess the portrayals of social actors presented by the BBC, or UK viewers those of NHK.
This would provide a subjective account of perceptions of CVD if nothing else. Tuchman , Gitlin 4 The software used was SketchUp7 which is freely available for download online. Torigoe suggests that one per cent of ratings is roughly equivalent to one million viewers.
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