This paper examines the potential to develop live multi-camera screen production methods as a scholarly tool. Drawing on experimental work in broadcasting in the 1970s and early 1980s, exemplified by The Journal of Bridget Hitler (BBC1981 – dir Philip Saville), and recent developments in multi-camera live-streaming online and to cinemas (http://ntlive.nationaltheatre.org.uk), the paper asks if we might develop a novel screen production method as a tool to research, review and disseminate knowledge across a range of academic disciplines. Whilst single-camera production methods have long been used for experimentation by filmmakers and scholars, there has not been an equivalent exploration in form using multi-camera or ‘live’ television studio facilities, which have tended to be regarded as the site of more populist fare. Whilst this may be due to the limitations of access and gate-keeping by broadcasters, in the past two decades, television studios have been built as teaching facilities in a number of universities in response to staff and student interest in industry-focused media production. However, we have not seen the significant use of such facilities for research and experimentation. We need to return to the experimentation of directors such as Philip Saville in the public service protected environment of the 1970s to find an openness to non-naturalistic studio production and a hybrid form which might lend itself to academic inquiry. This paper surveys the history of experimentation in multi-camera and live television studio techniques and forms, and questions why there has been so little attention paid to exploring the creative possibilities of the medium in recent years. It asks whether the shift to online and mobile platforms, combined with the technology of live-streaming and the trend towards “live” and “event” experiences, offers the opportunity for new audiences and new understandings in the academy beyond the constraints of mainstream broadcast media, and posits an agenda for the construction and debate of a new aesthetic of the television studio, led within Higher Education, which might inform the way we apply screen production in research-led learning environments.
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机译：本文探讨了开发实时多相机屏幕制作方法作为一种学术工具的潜力。借鉴1970年代和1980年代初的广播实验工作，例如《布里奇特·希特勒杂志》（BBC1981 –菲利普·萨维尔（dir Philip Saville）），以及在线和电影院多摄像机直播的最新发展（http：//ntlive.nationaltheatre （org.uk），该论文询问我们是否可以开发一种新颖的屏幕制作方法，作为研究，评论和传播各种学科知识的工具。尽管单摄制片方法长期以来一直被电影制片人和学者用于实验，但并没有采用多摄制或“现场”电视演播室设施进行形式上的等效探索，这些设施通常被认为是民粹主义人群的聚集地。票价。尽管这可能是由于广播公司访问和关门的限制所致，但在过去的二十年中，为了满足工作人员和学生对以行业为中心的媒体制作的兴趣，电视演播室已经在许多大学中作为教学设施而建立。但是，我们还没有看到这种设施用于研究和实验的大量使用。我们需要回到1970年代受菲利普·萨维尔（Philip Saville）等导演在1970年代受公共服务保护的环境中进行的试验，以发现对非自然主义工作室制作的开放性和一种可能有助于学术研究的混合形式。本文概述了多相机和直播电视演播室技术和形式的实验历史，并质疑了为什么近年来很少有人关注这种媒介的创造性可能性。它询问向在线和移动平台的转移，结合直播技术和“现场”和“事件”体验趋势的发展，是否为学院的新观众和新的理解提供了超越主流广播限制的机会媒体，并提出了在高等教育部门领导下建造和辩论电视演播室新美学的议程，这可能会为我们在研究主导的学习环境中应用屏幕制作提供信息。
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