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Mapping Flat, Deep, and Slow: On the ‘Spirit of Place’ in New Cinema History
No full textThis essay engages in a creative, heuristic, and reflexive consideration of the ‘localities’ of cinema audiences by exploring New Cinema History as a place. New Cinema History is conceptualised as a place continually produced in and through its interactions with the heterogeneous multiplicities of situated audiences and experiences of cinema that form the topoi of its landscape of inquiry. In reflecting on how this placialised landscape has been and might be represented, I argue that New Cinema History’s ‘spirit of place’ is most productive when rendered within a ‘splatial’ framework that draws upon practices of flat, deep, and slow mapping to offer new possibilities for bridging space and place, narrative and cartography, and history and geography. These practices motivate myriad forms of collaboration and data exchange among diverse projects and stakeholders that perforate and continually redraw boundaries of knowledge using dynamic, multiple, open tactics for representing and recombining research
Moving Films: Visualising Film Flow in Three European Cities in 1952
No full textThis article is an international collaboration focusing on three European port cities – Antwerp (Belgium), Gothenburg (Sweden) and Rotterdam (Netherlands) – in 1952, during the golden age of cinema prior to the rise of television. The objective is to test an approach for making transnational comparisons of distribution and exhibition based on film programming data. We use a mixed-method approach that combines data visualisations based on a simple network analysis and time plot visualisations. Our aim is to show how these visualisations can be helpful in characterising and comparing cinema markets in an attempt to answer the question of how films move through a city from one cinema to the other and how this flow can be characterised and compared
Collection plan for Sound and Vision 2019
Get PDFThe media landscape is in constant flux. The media are all around us, all of the time. Information comes to us from countless sources—from said media, or from friends and influencers. Daily social media use has in large numbers turned the traditional recipients of yore into broadcasters, in search of audiences both large and small. This media explosion brings new challenges to the Netherlands Institute for Sound and Vision, which aims to capture media’s history and impact on individuals and society, and preserve them for study and reuse purposes in the long run. This collection policy plan informs the creators and users of the collection about the way in which our institute handles its collection, and the choices we make in relation to its creation, management and accessibility. It forms the basis for collaboration with media professionals, heritage professionals, researchers, teachers and private individuals who use the collection and want to develop it further, together with us
From Nordic Noir to Belgian Bright? Shifting TV Drama Production and Distribution in Small Markets: The Case of Flanders
No full textShifts in audio-visual production, distribution and consumption have increased pressure on broadcasters as main financiers of domestic content in Europe. However, within the context of internationalisation and digitalisation, there are also new opportunities for the export of European content. By taking a close look at the evolution and increasing popularity of Flemish TV drama, this article identifies key explanatory factors for the export of content produced in a small media market. The analysis also discusses the extent to which the rise in exports may contribute to the increased sustainability of a small and fragile, yet vibrant audio-visual industry
Canned Adaptations and International Success of Turkish TV
No full textThis article examines Turkish TV series’ recent success as canned programming primarily in newly developed and developing countries in Eastern Europe, the Balkans, the Middle East, South Asia, and South America through close textual analysis of a particularly popular Turkish adaptation, Bizim Hikaye (Our Story) (2017–2019) in comparison with its original, Shameless (2011–). I argue that Turkish series’ emphasis on nostalgic and melancholic narrative frames make them particularly appealing in these regions, as they deal with relatable circumstances of swift and traumatic changes under neoliberalism. However, female protagonists are allowed only a limited range of roles because of the reliance on nostalgia, thus, ultimately serving to re-legitimize patriarchal relations of domination
From Family Doctor to Healthentainment: Health Topics in the Italian Public Service from Neo-Television to Post-television
No full textThe paper analyses health and public health representation within RAI (Radiotelevisione Italiana) programmes in the shift from neo-television to post-television. To this purpose, it presents the result of a qualitative media content analysis on three different RAI programmes, attributable to different television genres and aired in the two periods considered.The analysis shows that in the shift from neo-television to post-television a recurrent genre arose which we call healthentainment: evolving from health representation to health storytelling, this genre integrates varied expert knowledge with new topics and new means of public involvement; flexible regarding information content, it is however firmly science-based
Inclusivity and Accessibility to Visually Impaired Audiences to Audiovisual Collections and Museums
Get PDFWe live in a visual world. Images are everywhere, especially in museums, where visuality is
key. When it comes to moving images, the visual aspect of the material is even greater since the first
contact with it offered to the observer is through sight. So does it mean that visually impaired audiences
are doomed to not have a consistent access to video content, which means not being able to have a
deeper understanding of what's being shown through the moving images? Blind people or people that
have low vision live in the same world as everybody else. Consequently, they do have constant contact
with kinetic audiovisual content living in this society. It is time, then, to start taking this group into
consideration when it comes to audiovisual cultural heritage.
This paper shows the evolution of a project destined to find non-visual multi-sensory solutions to cognitive
access to video content. Through the initiative of Making Sense, a case study involving a series of
workshops put into practice at the Netherlands Institute for Sound and Vision, it analyses the process of
conception, organization, practice and reflection over the findings of an eight month participatory
research
Robbe De Hert: beeldenstormer, publieksfilmer en promotor van de filmgeschiedenis
No full textHet oeuvre van de Belgische cineast Robbe De Hert (20 september 1942 – 24 augustus 2020) is erg divers. Hij realiseerde experimentele animatiefilms (A Funny Thing Happened on my Way to Golgotha) en maatschappijkritische filmpamfletten (Camera sutra), maar evengoed een populaire komedie (Zware jongens), een adaptatie van een historische plattelandsroman (De Witte van Sichem) of een Willem Elsschotverfilming (Lijmen/Het been). De Hert was het boegbeeld van het in 1966 opgerichte filmerscol lectief Fugitive Cinema, dat de Belgische cinema een sociale dimensie gaf. Hij gold jarenlang als de grootste criticaster van het Vlaamse film- en televisiebeleid. Vanaf de jaren 1980 ontpopte De Hert zich met zijn documentaires ook als hoeder en promotor van de (vooral Belgische maar ook Nederlandse) filmgeschiedenis. Dit artikel belicht zowel De Herts bijdrage aan als zijn engagement voor de filmgeschiedenis. Afsluitend gaat het artikel in op De Herts omvangrijke Fugitive Cinema Archief
Book review: Die Filmzensur im Kanton Zürich
No full textBook review of: Matthias Uhlmann, Die Filmzensur im Kanton Zürich: Geschichte, Praxis, Entscheide (Zürich: Verlag Legissima, 2019), xxvi, 938 pp., ISBN 978303307030
Queering New Cinema History: Affective Methodologies for Comparative History
No full textNew Cinema History has tended to focus on developing microhistories of the exhibition, distribution, and reception of theatrical Hollywood and other mainstream cinemas. While such scholarship has been essential for understanding how cinema operates as a sociocultural institution, its focus on the highly public forms of cinemagoing that often followed Hollywood film has left untouched the sometimes furtive and deliberately hidden cinemagoing practices and microhistories of queer audiences, curators, and exhibitors throughout the mid-to-late 20th century. This paper intervenes in this state of affairs and queers New Cinema History. I situate film festival studies and New Cinema History within the same methodological and theoretical terrain and argue that the exclusion of queer film festivals from New Cinema History is a result of both the field’s methodological preference for big data, as well as a structural heteronormativity underlying its methodologies. I further argue that by following affect, ephemera, and anecdotes, New Cinema History can better account for queer and other marginalised cinema practices