"Explosive bursts of fire open Technology/Transformation, an incendiary deconstruction of the ideology embedded in television form and pop cultural iconography. Appropriating imagery from the 1970s TV series Wonder Woman, Birnbaum isolates and repeats the moment of the 'real' woman's symbolic transformation into super-hero. Entrapped in her magical metamorphosis by Birnbaum's stuttering edits, Wonder Woman spins dizzily like a music-box doll. Through radical manipulation of this female Pop icon, she subverts its meaning within the television text. Arresting the flow of images through fragmentation and repetition, Birnbaum condenses the comic-book narrative — Wonder Woman deflects bullets off her bracelets, 'cuts' her throat in a hall of mirrors — distilling its essence to allow the subtext to emerge. In a further textual deconstruction, she spells out the words to the song Wonder Woman in Discoland on the screen. The lyrics' double entendres ('Get us out from under... Wonder Woman') reveal the sexual source of the superwoman's supposed empowerment: 'Shake thy Wonder Maker.' Writing about the 'stutter-step progression of 'extended moments' of transformation from Wonder Woman,' Birnbaum states, 'The abbreviated narrative — running, spinning, saving a man — allows the underlying theme to surface: psychological transformation versus television product. Real becomes Wonder in order to 'do good' (be moral) in an (a) or (im)moral society.'"
(Electronic Arts Intermix)
"The adventures of the ORION and her crew were made by german and french tv in 1965/66. It was germans first science fiction series, made in black-and-white, and lasted only 7 episodes. The first airing in late 1966 were a tremendous success, but the producers decide not to make any continuation (another 7 scripts were completed) because of costs and ressources."
"Writers who want to pitch a TV series create a show bible. The bible contains the concept, location, bios of the characters, full episodes, synopses of potential episodes, and possibly even a pilot episode. Once the TV series is launched, the show bible is used to keep track of details about the setting and characters to preserve continuity. The show bible reminds writers about pertinent but minute facts. No doubt the writers for the TV show Buffy the Vampire Slayer needed to know the characteristics of each demon that Buffy fought as well as the names of her high school classmates who turned out to be vampires. It would be confusing if a student who was supposedly a vampire one season were suddenly able to see her reflection during the next season."
(Rochelle Melander, 2011, p.46)
Melander, R. (2011). "Write–A–Thon: Write Your Book in 26 Days (And Live to Tell About It)", F+W Media.
"We made this animation in BrosFx Studio. It is an opening to the TV series 'THE PILLARS OF THE EARTH', an adaptation of a book by Ken Follett. The series director is Sergio Mimica Gezzan, who cooperated, among others, with Steven Spielberg. Our goal was to create an animation which would render the colourful and vivid world of medieval England. The next step was to create a distinctive style that the audience would remember. After many tests, we opted for a hand painted stop motion, which suited perfectly the spectacle."