233 Works

I’m Sorry I Don’t Have a Story

Adrian Miles
I don’t know what this is, which is a strange place from which to begin. This is unsettling, for as an academic I am trained and acculturated to displaying a certainty of manner — a certainty that many of my students and conference colleagues would attest I have down pat. It begins from Bristol. It begins from Alisa Lebow’s presentation at the 2016 i–Docs conference about her interactive documentary Filming Revolution. It begins from what...

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...

Aesthetic Proximity

Jolien Van Keulen
Implications of the transnationalisation of television are often studied by focusing on the localisation of the content of formatted programmes. Although television is essentially an audio-visual medium, little attention has been paid to the aesthetic aspects of television texts in relation to transnationalisation and formatting. Transnationalisation of production practices, such as through formatting, implies a transnational aesthetic. At the same time, aspects of style are specific to place, culture or audience. In this article, the...

Comunicar Europa / Communicating Europe

Manuel Palacio & Concepción Cascajosa
This article will look into the case of a European television co-production: Pepe Carvalho (1999), a Spanish-Italian-French series based on the adventures of private detective created by writer Manuel Vázquez Montalbán. Taking account of production and reception issues, it will address the complexities of using media in the process of European construction. The main objective of this text is to observe the manner in which cinema and television are interwoven into the collection of actions...

Public Service Television in a Multi-Platform Environment

Oranit Klein-Shagrir & Heidi Keinonen
Cultural and economic transformations have encouraged television companies to turn their attention to multi-platform practices so as to increase their compatibility with the changing media environment. While digital media provide public service broadcasting (PSB) institutions with new opportunities for meeting their public commitments and maintaining their relevance in national media systems, PSB is also faced with additional challenges. One of these is the tension between public service values on the one hand and digital technologies...

Understanding Socialist Television: Concepts, Objects, Methods

Sabina Mihelj
This article develops a number of conceptual and methodological proposals aimed at furthering a firmer agenda for the field of socialist television studies. It opens by addressing the issue of relevance of the field, identifying three critical contributions the study of socialist television can make to media, communication and cultural studies. It then puts forward a number of proposals tied to three key issues: strategies of overcoming the Cold War framework that dominates much of...

Because His Bike Stood There

Frank Kessler
The article discusses the use and post-production treatment of footage shot by Dutch filmmaker Louis van Gasteren in his documentary Because My Bike Stood There (1966). The images depict a young man being beaten up by the police during a clash between the forces of order and people waiting to enter a photo exhibition on, ironically, police violence that had occurred about ten days earlier in Amsterdam. Van Gasteren combines the footage with an interview...

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...


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.

Visions of Reconstruction

Floris Jan Willem Paalman
After WWII, films accompanied the reconstruction of Europe’s destroyed cities. Many contained historical footage. How was this material used, to articulate visions of reconstruction, what happened to the material later on, and how do the films relate to municipal film archives? This question is approached in terms of collective cognitive functions, applied to a media archaeological case study of Rotterdam. In focus are two audiovisual landmarks, from 1950 and 1966, and their historical footage, all...

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...


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...

Old Stories and New Developments

Alexander Badenoch, Jasmijn Van Gorp, Berber Hagedoorn, Judith Keilbach, Eggo Müller & Daniela Mustata
It is our great pleasure to present this special issue of VIEW Journal of European Television and Culture in honour of Sonja de Leeuw, one of the founding members of the journal. The issue brings together articles that honour Sonja’s inspiring contributions to television history and television historiography.

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...

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...

Meet the Predators

Sabine Baumann & Ulrike Rohn
The TV industry has traditionally relied on advertising and subscription fees for revenue. Recently, brand extensions and co-branding strategies have been rediscovered as income sources. A prominent example of such a strategy is the TV format Dragons’ Den, which has been locally produced in many different countries. We use this intriguing case to explore the extensive and intricate co-branding relationships and brand extensions in the business-to-consumer and the business-to-business settings of TV companies. Our paper...

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