131 Works

The cost of inaction

Chris Lacinak
Anon University is a hypothetical university representing a conglomeration of organizations with holdings of legacy physical audiovisual media. It exemplies a universal conundrum that poses a serious threat to the future value derived from content stored on physical audiovisual legacy media. This paper proposes a new model and application for quantifying the nancial and intellectual implications of decisions regarding digitization of physical audiovisual media holdings. Cost of inaction (COI) calculates the return on savings of...

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...

Editorial

Andreas Fickers & Sonja De Leeuw
We are very pleased to present the first issue of a new e-journal in the field of European media history: the Journal of European Television History. It is to be the first peer-reviewed, multi-media and open access e-journal in the field of television studies. The aim of this e-journal is to provide an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage.

An Unknown, but Key Player in the Television Market: The Television Retailer and the Case of Black and White TV Sets in France (1950-1987)

Isabelle Gaillard
This article offers insights into how black and white TV sets were sold in France from 1948 to the mid 80s. During this period, the black and white television set shifted from being an expensive and breakable technical object to a commonplace, mass consumer durable good. The article illustrates this process.

All you need is love

Debra Hess Norris
Preservation of photographic materials, both physical and digital, presents numerous challenges, and photographic collections are at risk world-wide. In response to this danger, regional partners have worked with international organizations to forge global training initiatives and platforms centred on experiential learning and designed with curricula tailored to speci c climates, geographies, needs and outcomes. paper highlights three forward-thinking e orts. The Middle East Photograph Preservation Initiative (MEPPI) has provided training to collections in 16 countries....

Towards A New Digital Historicism?

Andreas Fickers
This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an...

Comparing Socialist and Post-Socialist Television Culture

Zrinjka Peruško & Antonija Čuvalo
This article builds a theoretical model for comparative analysis of media culture based on the notion of genre, and applies it to a comparative analysis of television as a cultural form in socialist and post-socialist Croatia. The paper explores how the shares and generic composition of program modes of information, entertainment and fiction change in time, and how the contribution of different genres to program flow and modes varies with the changes of political, economic...

Window to the West

Annika Lepp & Mervi Pantti
This study is concerned with the memories of Estonians of watching Finnish television during the last decades of the Soviet occupation. We will look at the practices of watching Finnish television in Soviet Estonia and the meanings attributed to it. Finnish television took North-Estonians into a colourful world of consumption and entertainment, while at the same time educating them about Western values and encouraging them to dream a better future.

Live From Moscow

Lars Lundgren
On April 14th, 1961, television viewers across Europe watched live images of Yuri Gagarin being celebrated on the Red Square in Moscow. The broadcast was made possible by the linking of the Intervision and Eurovision television networks, which was the result of cooperation between broadcasters on both sides of the Iron Curtain. By looking into how the co-operation between the OIRT and EBU was gradually developed between 1957 and 1961 this article engages with the...

Editorial

Andy O'Dwyer & Tim O'Sulivan
We know little about the ‘behind the scenes’ of television. While the booming field of production studies has been shining a light on the work processes and the personnel in production spaces, there is still a lot to be learnt about the ‘hidden’ professions of television. This issue of VIEW provides a rich but fairly eclectic series of contributions based on the theme.

Documenting ICH in sound and image

Jorijn Neyrinck & Ellen Janssens
Documentation of intangible cultural heritage (ICH) poses a series of new questions and challenges within the heritage practice. How do we document a heritage that is alive, through the heads, hands and practices of people? Heritage that is neither tangible nor fixed but intangible and dynamic. Heritage that lives within a community, which by its active practice also acts to transmit and realize a future for this living heritage. Such living heritage processes require different,...

What to do with audiovisual carriers after their digitization?

Brecht Declercq & Loes Nijsmans
Both traditional and more recent audiovisual carriers degrade. Even CD-ROMs have typically only a ten-year expected life span. In addition, playback equipment for both analogue and digital carriers will ultimately grow scarcer and more expensive to repair or replace. Archives and museums are inevitably faced with the decision of whether to preserve audiovisual carriers after their content has been digitized. This paper o ers a draft decision- making framework developed by the Flemish Institute of...

TV Commercials' Second Life

Krystyna Biernawska
The objective of this article is to look at the cultural indicators of television in the Netherlands from the perspective of feature that is essential to commercial TV - audiovisual advertisements. TV advertisements have been continuously gaining recognition as vital part of shared, cultural memory amongst audiences. It is therefore worth looking into the current practices of archiving and reuse of these ephemeral texts, including the digital environment. Once any commercial is removed from its...

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...

Towards A New Digital Historicism?

Andreas Fickers
This article argues that the contemporary hype in digitization and dissemination of our cultural heritage – especially of audiovisual sources – is comparable to the boom of critical source editions in the late 19th century. But while the dramatic rise of accessibility to and availability of sources in the 19th century went hand in hand with the development of new scholarly skills of source interpretation and was paralleled by the institutionalization of history as an...

Making The Most Of The Archive

Luca Barra & Massimo Scaglioni
In the last 20 years, Italian television has discovered the richness and profitability of its enormous archives. Many new programmes have been broadcast on public and commercial television, making extensive use of historical fragments taken from previously aired shows. This essay explores the rationale behind the commercial re-use of TV archives in four different programmes: the “variety show made of variety shows” Da Da Da, the militant pastiche Blob, the commercial programming remix Super Show,...

Transnational Relations Between The BBC And The WDR (1960-1969)

Christian Potschka
This paper addresses the relationship between the BBC Director-General Hugh Carleton Greene and the director of the West German Broadcasting Corporation (WDR) Klaus von Bismarck between 1960 and 1969. The thrust of the article is to point out the great potential of evaluating interpersonal relationships and their contribution to European perspectives on television history. The research is situated within transnational television historiography and it argues that the relationship between the two key personalities is manifested...

European Television History Online

Sonja De Leeuw
Increasingly television heritage is being digitized and made accessible to non- industry user, enabling ‘the archival turn’: the study of online archives so as to revisit the dominant discourses in television historiography. This article discusses both conceptual and practical perspectives on online television heritage within a broader European frame- work. It starts from the notion of connectivity, pointing to the development of the archive as a network of connections and continues to address the dynamics...

From European Identity and Media Imperialism to Public Diplomacy

Eva Polonska-Kimunguyi & Patrick Kimunguyi
Euronews can be regarded as Europe’s most experimental and successful pan-national broadcaster. It is increasingly international in its organisation and output. The issues covered no longer concentrate on Europe. ‘Going global’ is the channel’s new motto. This paper outlines the changing rationale behind the creation of Euronews. It starts by discussing the American cultural imperialism of the 1970s and 1980s and the way it ignited European responses and counter-measures. It subsequently examines the politics of...

Mapping Europe

Mari Pajala
The Eurovision Song Contest (ESC) offers a unique viewpoint to the ways Europe has been imagined on television from the 1950s to the present. This paper looks at the use of a key visual symbol for Europe, the European map, to outline the history of the ESC’s representation of Europe. Whilst the European map was rarely used during the first decades of the ESC, it became a central visual element of the show in the...

Digitizing collections of musical instruments in Africa

Saskia Willeart
In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes...

Editorial

Dana Mustata
Doing European television history is as much a theoretical and methodological challenge as it is a practical one. This novice field of study requires first and foremost answers to a few fundamental questions: How do we define European television? What tools do we employ to engage in television research that goes beyond or against national borders of television in Europe? How do we integrate Europe in a field of research that has been predominantly Western?

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...

The Problem of Personality on the Soviet Screen, 1950s-1960s

Simon Huxtable
Over the course of the 1950s and 1960s, Soviet television acquired a growing popularity amongst the public. In a period when its technical and artistic quality remained low, the welcoming presence of TV personalities like Valentina Leont’eva and Iurii Fokin was one key reason for TV’s popularity. In this article, which combines an analysis of selected TV shows with archival documents and press articles, professionals’ discussions over the desirable qualities that personalities needed to possess...

Great Escapes from the Past

Andreas Widholm
Over the last couple of decades, Europe has undergone fundamental political transformations that have challenged old stereotypes about the ‘essence’ of the European identity. This article analyses televisual narratives of the 2004 enlargement of the European Union, turning the analytical spotlight on two of Europe’s largest news broadcasters: BBC World and Euronews. The article focuses on how Europe is remembered in the news, but also how references to the past are used to explain what...

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  • 2017
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    131