You are looking at all articles with the topic "Television". We found 25 matches.

Hint: To view all topics, click here. Too see the most popular topics, click here instead.

An Eidophor was a television projector used to create theater-sized images from an analog video signal. The name Eidophor is derived from the Greek word-roots eido and phor meaning 'image' and 'bearer' (carrier). Its basic technology was the use of electrostatic charges to deform an oil surface.

Ark II is an American live-action science fiction television series, aimed at children, that aired on CBS from September 11 to December 18, 1976 (with reruns continuing through November 13, 1977) as part of its weekend line-up. It returned again in rerun from September 16, 1978 through August 25, 1979. Only 15 half-hour episodes were ever produced. The program's central characters were created by Martin Roth; Ted Post helped Roth develop its core format.

Alternative 3 is a television programme, broadcast once only in the United Kingdom in 1977, and later broadcast in Australia, Canada, and New Zealand, as a fictional hoax, an heir to Orson Welles' radio production of The War of the Worlds. Purporting to be an investigation into the UK's contemporary "brain drain", Alternative 3 uncovered a plan to make the Moon and Mars habitable in the event of climate change and a terminal environmental catastrophe on Earth.

The programme was originally meant to be broadcast on April Fools' Day, 1977. While its broadcast was delayed until 20 June, the credits explicitly date the film to 1 April. Alternative 3 ended with credits for the actors involved in the production and featured interviews with a fictitious American astronaut.

Halt and Catch Fire is an American period drama television series created by Christopher Cantwell and Christopher C. Rogers. It aired on the cable network AMC in the United States from June 1, 2014, to October 14, 2017, spanning four seasons and 40 episodes. Taking place over a period of more than ten years, the series depicts a fictionalized insider's view of the personal computer revolution of the 1980s and the growth of the World Wide Web in the early 1990s. The show's title refers to computer machine code instruction Halt and Catch Fire (HCF), the execution of which would cause the computer's central processing unit to stop working (catch fire being a humorous exaggeration).

In season one, the company Cardiff Electric makes its first foray into personal computing, with entrepreneur Joe MacMillan (Lee Pace) running a project to build an IBM PC clone with the help of computer engineer Gordon Clark (Scoot McNairy) and prodigy programmer Cameron Howe (Mackenzie Davis). Seasons two and three shift focus to a startup company, the online community Mutiny, that is headed by Cameron and Gordon's wife Donna (Kerry Bishé), while Joe ventures out on his own. The fourth and final season focuses on competing web search engines involving all the principal characters.

Halt and Catch Fire marked Cantwell's and Rogers's first jobs in television. They wrote the pilot hoping to use it to secure jobs as writers in the industry but instead landed a series of their own from AMC. The story was inspired by Cantwell's childhood in the Silicon Prairie of Dallas–Fort Worth, where his father worked as a software salesman, and the creators' subsequent research into Texas's role in personal computing innovations of the 1980s. Filmed in the Atlanta, Georgia, area and produced by the network, the series is set in the Silicon Prairie for its first two seasons and Silicon Valley for its latter two.

Halt and Catch Fire debuted to generally favorable reviews, though many reviewers initially found it derivative of other series such as Mad Men. In each subsequent season, the series grew in acclaim, and by the time it concluded, critics considered it among the best shows of the 2010s. Despite its critical reception, the series experienced low viewership ratings throughout its run, with only the first episode surpassing one million viewers for its initial broadcast.

Slow television, or slow TV (Norwegian: Sakte-TV), is a term used for a genre of "marathon" television coverage of an ordinary event in its complete length. Its name is derived both from the long endurance of the broadcast as well as from the natural slow pace of the television program's progress. It was popularised in the 2000s by the Norwegian Broadcasting Corporation (NRK), beginning with the broadcast of a 7-hour train journey in 2009.

TV-B-Gone is a universal remote control device for turning off a large majority—about 85%—of the available brands of television sets in 2015. It was created to allow people in a public place to turn off nearby television sets. Its inventor has referred to it as "an environmental management device". The device is part of a key-chain, and, like other remote devices, is battery-powered. Although it can require up to 72 seconds for the device to find the proper code for a particular television receiver, the most popular televisions turn off in the first few seconds.

A surface-conduction electron-emitter display (SED) is a display technology for flat panel displays developed by a number of companies. SEDs use nanoscopic-scale electron emitters to energize colored phosphors and produce an image. In a general sense, an SED consists of a matrix of tiny cathode ray tubes, each "tube" forming a single sub-pixel on the screen, grouped in threes to form red-green-blue (RGB) pixels. SEDs combine the advantages of CRTs, namely their high contrast ratios, wide viewing angles and very fast response times, with the packaging advantages of LCD and other flat panel displays. They also use much less power than an LCD television of the same size.

After considerable time and effort in the early and mid-2000s, SED efforts started winding down in 2009 as LCD became the dominant technology. In August 2010, Canon announced they were shutting down their joint effort to develop SEDs commercially, signalling the end of development efforts. SEDs are closely related to another developing display technology, the field emission display, or FED, differing primarily in the details of the electron emitters. Sony, the main backer of FED, has similarly backed off from their development efforts.

The Prisoner is a 1967 British television series about an unnamed British intelligence agent who is abducted and imprisoned in a mysterious coastal village, where his captors designate him as Number Six and try to find out why he abruptly resigned from his job. Patrick McGoohan played the lead role as Number Six. The series was created by McGoohan with possible contributions from George Markstein. Episode plots have elements of science fiction, allegory, and psychological drama, as well as spy fiction. It was produced by Everyman Films for distribution by Lew Grade's ITC Entertainment.

A single series of 17 episodes was filmed between September 1966 and January 1968, with exterior location filming in Portmeirion, Wales. Interior scenes were filmed at MGM-British Studios in Borehamwood, north of London. The series was first broadcast in Canada beginning on 5 September 1967, in the UK on 29 September 1967, and in the US on 1 June 1968. Although the show was sold as a thriller in the mould of the previous series starring McGoohan, Danger Man, its combination of 1960s countercultural themes and surrealistic setting had a far-reaching influence on science fiction and fantasy TV programming, and on narrative popular culture in general. Since its initial screening, the series has developed a cult following.

A six-part TV miniseries remake aired on the US cable channel AMC in November 2009. In 2016, Big Finish Productions reinterpreted the series as an audio drama.

V (or V: The Original Miniseries) is a two-part American science-fiction television miniseries, written and directed by Kenneth Johnson. First shown in 1983, it initiated the science-fiction franchise concerning aliens known as the "Visitors" trying to gain control of Earth and of the ways the populace reacts.

Star Trek: Phase II was the initial working title for what officially became titled Star Trek II, an unproduced American science fiction television series created by Gene Roddenberry as a sequel to (and continuation of) the original Star Trek, which had run from 1966 to 1969. The plans for the series were first developed after several failed attempts to create a feature film based on the property, coupled with plans for a Paramount Television Service (PTS) as a fourth broadcast television network in the United States.

Both PTS and the Star Trek revival were announced in early June 1977, with PTS to debut as one evening of programming each Saturday night and to gradually expand to other nights; a strategy successfully employed by the Fox Broadcasting Company a decade later. Star Trek: Phase II was to be the flagship show, and be broadcast at 8pm EST, followed by a movie of the week starting at 9pm. The initial order was for a two-hour pilot, followed by 13 hour-long episodes.

With the exception of Leonard Nimoy as Mr. Spock, who had ongoing disputes with Roddenberry and Paramount, the entire regular and recurring cast of The Original Series were contracted to return, notably William Shatner as Captain Kirk. Three new and younger regular characters were created, science officer Lt. Xon, navigator Lt. Ilia, and ship's executive officer Willard Decker. Xon, Decker and Ilia were later influential in the development of characters on Star Trek: The Next Generation, and two of the scripts written for Phase II would be re-developed for use in that series.

Behind the cameras, Roddenberry recruited Trek-novices Harold Livingston and Robert Goodwin as producers. Veterans of The Original Series were few, and included costume designer William Ware Theiss and illustrator Mike Minor. Art director Matt Jefferies was otherwise employed and brought in as a "technical advisor" and to update the design of the starship USS Enterprise. Special effects (on set) were to be by Jim Rugg. Science fiction novelist Alan Dean Foster received the assignment to write the story outline for the two-hour pilot, but, with a looming production deadline and unable to find a suitable writer to develop this story into a teleplay, Harold Livingston took on the writing job himself. Of the remaining 12 script assignments handed out, about half were to veterans of The Original Series.

Pre-production began in earnest, with the emphasis on what would be the standing sets of the Enterprise, which differed radically in layout, design and detailing from those for The Original Series. Many costumes and props, too, were designed. Ultimately, Paramount's plans for its network and Star Trek's TV return faltered, as the low anticipated advertising revenues for the Paramount Television Service indicated that it was not viable, and the Paramount Pictures parent company Gulf and Western's chairman, Charles Bluhdorn, refused to back the plan, resulting in the eventual exit of Paramount chief executive officer Barry Diller. In August 1977 Paramount president Michael Eisner announced—internally—that the two-hour pilot script was to be the long sought-after feature film story. However, In order to prevent negative publicity, the "cancellation" of the series and network was not immediately disclosed and development of the series and its scripts continued for a further five months, during which time tests were filmed on the incomplete Enterprise sets in widescreen format - a clear indication that whatever Star Trek would be, it would not be a TV movie.

On March 28, 1978, any illusions that Star Trek would be returning to television were ended when Paramount announced that instead of a series it would be producing what became the big budget film titled Star Trek: The Motion Picture (1979), which was itself a massive reworking of the "In Thy Image" two-hour pilot script.

Preproduction work on the series did not entirely go to waste. The standing Enterprise sets would be extensively reworked for the film (and its eventual sequels), and an unfinished admiral's office set's walls became part of the Enterprise cargo deck. However, the visual effects people hired for the feature film decided that the miniatures under construction were not up to the standards of a post-Star Wars feature, and all were scrapped. Director Robert Collins, who had been hired to direct the pilot, and promised he was to direct the feature, was replaced by Robert Wise.

The concept of a "Paramount Network" led by a flagship Star Trek series finally came to fruition in January 1995 when Paramount launched the United Paramount Network (UPN) and the Star Trek: Voyager series.