238 Works

Picking up (on) Fragments

Phil Ellis
This article discusses the implications for archival and media archaeological research and reenactment artwork relating to a recent arts practice project: reenacttv: 30 lines / 60 seconds. It proposes that archival material is unstable but has traces and fragments that are full of creative potential to re-think and re-examine past media historical events through a media archaeological approach to reenactment. The article contains images and links to videos from the final reenactment artworks as well...

Remembering Operación Triunfo

Paola Savini
The music format Operación Triunfo (2001–2011), which aired on RTVE for the first time in 2001, started as a television (TV) and musical success in Spain and today is one of the most famous shows around the world as well as an incredible socio-economic phenomenon in Spanish TV. This paper describes the format concept and results. Both commercial and social aspects are introduced to understand why, after 15 years, it is remembered with nostalgia and...

Looking for What You Are Looking for

Jasmijn Van Gorp
In this essay, the author reflects on her first search with the online search system of the Netherlands Institute for Sound and Vision. It was part of a pilot study on how media researchers use the audiovisual archive. Consequently, her search was being logged, video taped and sound recorded, she had to 'think aloud', and all of this in presence of a fellow researcher from computer sciences who observed her search behaviour. By showing how...

Exploring Transnational Media Exchange in the 1960s

Heather Gumbert
This paper uses the history of the East German television service (DFF) to examine the emergence and implications of the international exchange of television content in the 1960s.

Newspaper Video Content

Samuel Negredo
Newspaper websites and online only news operations deliver an increasingly varied and comprehensive offer of original audiovisual content. In Spain, they cover current affairs and niche interests, complementing the video reports supplied by news agencies. The spoken word is a primary mode of expression, in the form of dialogues (interviews and debates) and speeches (comments and analyses), but more complex and visually appealing formats have been developed. There is a challenge to organise these packages...

Without Latency: Cathode Immersions and the Neglected Practice of Xenocasting for Television and Radio

Adam Hulbert
This paper discusses a three-year radio project Cathode Immersions, which was aired on 2SER in Sydney Australia. The audio that accompanied free-to-air television was remixed and rebroadcast in real time without latency. It explores the human and non-human aspects of the convergence of these two media, introducing ideas of xenocasting and media adjacency. The weekly xenocast of Cathode Immersions afforded unique translations of cultural narratives, from commentary on the Gulf War to machinic perspectives on...

Someone’s treasure: a legacy for all?

Samuel Franco Arce
The Casa K’ojom in La Antigua Guatemala, Guatemala, houses a unique collection of physical objects and audiovisual materials devoted to Mayan cultural heritage, both tangible and intangible. What began as a private collection has evolved into a museum where thousands of visitors have learned about Mayan culture and music. This paper highlights the development and care of the collections from the perspective of the Casa K’ojom’s founder and current director, Samuel Franco Arce. It reviews...

Bury my bones but keep my words

S. Mshaï Mwangola
The author’s experiences preparing and presenting at the 2013 (Nairobi, Kenya) and 2015 (Brussels, Belgium) SOIMA conferences form the basis for this reflection on the work of custodians safeguarding the sound and image heritage of the past. Drawing inspiration from the artistic reflections of acclaimed master poet Ko Awonoor and accomplished writer Yvonne Owuor on death and life viewed through the prism of the dirge singer, the paper explores what it means to be a...

Editorial

Richard Misek, Arnau Gifreu-Castells & Erwin Verbruggen
Editorial to the issue on "Non-Fiction Transmedia". Over the last years, interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called ‘interactive and transmedia non-fiction’. While the audiovisual non-fiction field has been partially studied, a few years ago emerged a new field focusing on interactive and transmedia non-fiction narratives, an unexplored territory that needs new theories and taxonomies to...

In-Vision Continuity Announcers: Performing an Identity for Early Television in Europe

Sonja De Leeuw & Mustata Mustata
In-vision continuity announcers have played central – yet understudied – roles in early television history. Through their performances on and off the screen, they mediated the identity of the televisual medium in the 1950s and 1960s, popularizing it as a medium of sound and vision, a domestic and gendered medium as well as a national and transnational institution. Focusing primarily on Dutch and Romanian female in-vision continuity announcers in the 1950s and 60s and making...

The Golden Stag Festival In Ceausescu’s Romania (1968-1971)

Alexandru Matei
After his appointment as leader of the Romanian Communist Party in 1965, Ceausescu was very interested in gathering popular support for his economic plans. It was in this context that Romanian television could contribute for a short while to a liberalization of Romanian mass culture by means of cultural and entertainment programmes. Between 1968 and 1972, Romanian television (TVR) organized the international pop music festival ‘Cerbul de Aur’ (the Golden Stag), which brought together some...

A Transmedia Topology of 'Making a Murderer'

Jolene Mairs Dyer, Danielle Barrios-O'Neill & Alan Hook
This article constructs a transmedia topology of the Making a Murderer text, demonstrating influences of various forms of documentary, interactive gaming culture, and post-digital writing on the series itself as well as on the paratextual cloud of works that grew up around it. Here we define transmedia topology as a tracing of what we could call the geography of the text, as defined by its features and boundaries (or lack thereof). We will discuss the...

Introduction

Aparna Tandon & Danielle Abbazia
Introduction to: Unlocking sound and image heritage. Selected readings from the 2015 SOIMA conference

Foreword

Stefano De Caro & Hilde De Clercq
Foreword to: Unlocking sound and image heritage. Selected readings from the 2015 SOIMA conference

Translating ‘Liebeskummer’

Alexander Badenoch
This article explores the possibilities for using TV archive documents for constructing transnational European heritage environments online. It looks closely at one episode of the Dutch popular music programme Combo from the mid-1960s, where artists from inside and outside the Netherlands perform in front of dancing teenagers. It points in particular to the acts of translation that take place within the programme, and argues that such acts must also be key in constructing television heritage...

Story, History and Intercultural Memory

Marida Di Crosta & Anita Leandro
How can transmedia storytelling benefit to a documentary production in order to give historical archives a second life? Could it possibly help updating official archives, adding to the them amateur’s contributions? We will try to answer the question by recalling some recent European experiences of Web-documentaries linked to television series. This will allows us to extrapolate a few theoretical fundamentals underlying the design of our transcontinental transmedia collaborative project of archive-based documentary – Histories of...

Applying the “baby nursing model” in under-resourced audiovisual archives in Africa

Judith Opoku-Boateng
It is a well-known fact that there has been extensive documentation of African traditional arts in post-colonial Africa, which has contributed to the growing accumulation of field recordings in Africa that could form the nucleus for archives in individual African countries. These include private collections as well as recordings at broadcasting and television stations; government ministries such as Tourism, Culture and Information; museums and academic institutions. Sadly, these precious traditions – which have been expensively...

Compiling European Immigration History

Andrea Meuzelaar
Today television's reliance on archival footage seems to be intensifying due to the increased accessibility of European broadcast archives and the increased amount of available digitized broadcast material. In this article, the author reflects on television's convention to compile stories from archival material by presenting a case-study of a recently broadcast Dutch television series Land of Promise (2014). This series narrates the history of European post-war immigration, and is constructed from archival material from various...

Retelling the Past with Broadcast Archives

Matteo Treleani & Matteo Treleani
he publication of audiovisual archives asks many questions about the meaning of documents. Publishing a video archive on a Web site, for example, is a re-contextualisation. The loss of cultural references needed to understand a document implies the necessity to recontextualise documents. This means adding elements, such as titles, descriptions and other information. This paper analyzes the case of a video published by Ina on its Web platform Ina.fr and its Blog, the Blognote. The...

Spain Was Not Living a Celebration

Juan Francisco Gutiérrez Lozano
Franco’s Dictatorship (1939-1975) used Spanish Television (TVE) as a key element in the political propaganda of its apparent ‘openness’ during the 1960s. The propaganda co-existed with political interest in showing the technological development of the media and the international co-operation established with other European broadcasters, mainly in the EBU. In a country ruled by strong political censorship, the Eurovision Song Contest was used as a political tool to show the most amiable image of the...

Eyewitnesses of History

Paolo Simoni
The role of amateur cinema as archival material in Italian media productions has only recently been discovered. Italy, as opposed to other European countries, lacked a local, regional and national policy for the collection and preservation of private audiovisual documents, which led, as a result, to the inaccessibility of the sources. In 2002 the Archivio Nazionale del Film di Famiglia (Italy’s Amateur Film Archive), founded in Bologna by the Home Movies Association, became the reference...

The Life and Afterlife of a Socialist Media Friend

Kinga S. Bloch
This paper analyses how the relationship of the Polish audience to a series from the 1970s, Czterdziestolatek (The Fourty-Year Old) evolved during socialism and after the Fall of the Iron Curtain. Contemporary reactions to the original series and a new season that was produced in the early 1990s are compared to nostalgic recollections and memories of the programme in later periods. The study discusses how the Polish audience uses the programme as a historical document...

Changing gears

Johan Oomen, Maarten Brinkerink, Bouke Huurnink & Roeland Ordelman
Audiovisual archives are embracing the opportunities offered by digitization for managing their work processes and offering new services to a wide array of user groups. Organization strategy, working processes and software development need to be able to support a culture where innovation can flourish. Some institutions are beginning to adopt the concept of ‘two-speed IT’. The core strategy aims to accommodate two informational technology tracks simultaneously: foundational but ‘slow’ and innovative but exible and ‘fast’....

History In The Backstage Of Romanian Television Archives

Dana Mustata
The historical value of audiovisual archives lies as much in the documented collection they have to offer as in the losses that history has imprinted on them. Controversial material that has been confiscated by the secret police in communist Romania or records of programmes that have been destroyed due to economizing practices of ‘taking the silver out of the pellicle’ are important facts in the history of Romanian television. Equally important for history is the...

Editorial

Dana Mustata
This thematic issue invites its readers to reflect upon two central questions. If we speak about socialist and post-socialist television in Europe, then: What is ‘socialist’ about television in Europe? How do we approach ‘television’ in (post)socialist Europe? These questions come with issues of definition, approach and positioning of this area of study within a broader European agenda.

Registration Year

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    131
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    46

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    1