A Transistorized Color Television Film Camera

1965 ◽  
Vol 74 (10) ◽  
pp. 930-935 ◽  
Author(s):  
David M. Taylor
Keyword(s):  
Television Film ◽  
Color Television

Color Television Film Recording from a Trinoscope

1974 ◽  
Vol 83 (9) ◽  
pp. 719-721 ◽  
Author(s):  
K. G. Lisk ◽  
C. H. Evans
Keyword(s):  
Television Film ◽  
Color Television

A Low-Cost Color-Television Film-Recording System

SMPTE Journal ◽  
1979 ◽  
Vol 88 (3) ◽  
pp. 157-160
Author(s):  
Kenneth G. Lisk
Keyword(s):  
Low Cost ◽  
Recording System ◽  
Television Film ◽  
Color Television

Laser-Beam Recorder for Color Television Film Transfer

1971 ◽  
Vol 80 (9) ◽  
pp. 699-703 ◽  
Author(s):  
Leo Beiser ◽  
Wendell Lavender ◽  
Renville H. McMann ◽  
Robert Walker
Keyword(s):  
Laser Beam ◽  
Television Film ◽  
Color Television ◽  
Film Transfer

Color-Television Film Shooting Practices

1954 ◽  
Vol 63 (6) ◽  
pp. 230-232 ◽  
Author(s):  
William B. Lodge ◽  
Howard A. Chinn
Keyword(s):  
Television Film ◽  
Color Television

Color Television Film Recording from a Shadow-Mask Picture Tube

1971 ◽  
Vol 80 (10) ◽  
pp. 801-806 ◽  
Author(s):  
K. G. Lisk ◽  
C. H. Evans
Keyword(s):  
Shadow Mask ◽  
Television Film ◽  
Color Television

Introduction

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural History ◽  
Intellectual History ◽  
Historical Sociology ◽  
Cultural Representations ◽  
History Of ◽  
Television Film ◽  
Popular Image

The introductory chapter discusses the popular image of the ‘Romantic mad poet’ in television, film, theatre, fiction, the history of literary criticism, and the intellectual history of the twentieth century and its countercultures, including anti-psychiatry and psychoanalysis. Existing literary-historical work on related topics is assessed, before the introduction goes on to suggest why some problems or difficulties in writing about this subject might be productive for further cultural history. The introduction also considers at length the legacy of Michel Foucault’s Folie et Déraison (1961), and the continued viability of Foucauldian methods and concepts for examining literary-cultural representations of madness after the half-century of critiques and controversies following that book’s publication. Methodological discussion both draws on and critiques the models of historical sociology used by George Becker and Sander L. Gilman to discuss genius, madness, deviance, and stereotype in the nineteenth century. A note on terminology concludes the introduction.

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