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Página 142
The movements of dancers , actors , or other performers shall be kept within the bounds of decency , and lewdness and impropriety shall not be suggested in the positions assumed by performers . 3. Camera angles shall avoid such views of ...
The movements of dancers , actors , or other performers shall be kept within the bounds of decency , and lewdness and impropriety shall not be suggested in the positions assumed by performers . 3. Camera angles shall avoid such views of ...
Página 158
and agencies are not competent to evaluate political affiliations of performers , and that the acceptability of a performer for broadcast work should be related solely to competence in performance . This is a tangled and difficult ...
and agencies are not competent to evaluate political affiliations of performers , and that the acceptability of a performer for broadcast work should be related solely to competence in performance . This is a tangled and difficult ...
Página 426
Performer with Other Types of Visuals — the cardboard cut - out type , standing free or pinned up on boards , felt figures placed on felt board , pipe - cleaner figures , or toy houses , dolls , animals , cars , railroads , farm yards ...
Performer with Other Types of Visuals — the cardboard cut - out type , standing free or pinned up on boards , felt figures placed on felt board , pipe - cleaner figures , or toy houses , dolls , animals , cars , railroads , farm yards ...
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Contenido
Social Aspects of Broadcasting | 3 |
The Growth of American Radio 220 | 42 |
TV Broadcast Revenues Expenses and Income 1961 | 47 |
Derechos de autor | |
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action actual advertising agencies American announcer appear audience broadcast called camera close color commercial Commission Communications Company continuity designed developed direct director discussion educational effects engineer equipment example film give groups hand important interest interviews license light limited lines listening live look manager material means Michigan microphone minutes move OFFICE opening operation organizations performers period permit person picture play position possible practice prepared presented production questions radio and television receivers records responsibility scene schedule script selection serve shot signals sound speech standards stations story studio talk television and radio tion turn United usually various voice writing York