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A Programme Like No Other: AIDS Prevention in French Television, 1995-1997
No full textFrench television has broadcast health magazines since the 1950s. These magazines generally give more importance to medical expertise and curative medicine. In this article, I will present a programme that stands out from these, Sidamag, which was broadcast weekly in the mid-1990s. Targeting a young public and aiming to inform on preventive measures, Sidamag producers wanted to give space and voice to nonexperts. These three goals were only partially achieved. Preventive measures were present in all Sidamag shows however, content analysis showed that only 14% focused on prevention in youth. Furthermore, medical discourse remained dominant although significant space was given to witness testimonials
Transnational Television Distribution and Co-Production Challenges: A KirchMedia and Sony Pictures Television Case Study
No full textThis article explores the production and distribution process for television co-productions and explains the potential benefits and risks compared to other media joint ventures, like television formatting. Using a detailed case study of one television series within a larger co-production agreement between a German rights trader and a Hollywood studio, the author analyzes production and distribution challenges and complex contractual arrangements within the context of global media trade. Co-productions are situated in between, and as a transition from, acquiring rights to canned television programs, and acquiring rights to television formats. The author contends that a range of difficulties in co-productions has contributed to a turn to television formatting, where the production process is more easily controlled and customized by the partner acquiring the property, leading to more predictable and successful distribution outcomes
“Lip-Sync for Your Life” (Abroad). The Distribution, Adaptation and Circulation of RuPaul’s Drag Race in Italy
No full textThe article aims to critically explore and understand the ways both RuPaul’s star persona and its program, RuPaul’s Drag Race, are distributed in Italy, circulate across, and impact on the Italian television industry and media culture, it also aims to show how many forms of national mediation, professional negotiation and audience reception deeply modify, and re-shape the TV product. To tackle the manifold facets of this case, four aspects will be analyzed: (trans)national distribution; adaptation and dubbing; global/local stardom; reception and cultural impact. Over a decade, the Italian edition and distribution of the show have changed, together with the national media landscape and its audiences
The Separate Journeys of Two Parallel Animation Histories: An Analysis of the Differences in Distribution of Animations Made for Film and for Television in the Netherlands Between 1970–1989
No full textIn the Netherlands, television animation developed differently from film animation. Between 1970 and 1989 film animators barely had government support, which made them unite to promote and distribute their work internationally. Television did have governmental support, and all broadcasting companies were obligated to have their programmes designed by the NOS, a facility department with employed designers and animators. By examining the journey these two animation traditions undertook throug the distribution channels of film, television, the 16mm circuit, festival screening and the museum, we see both disciplines develop and flourish in their own way, while rarely having any overlap. It becomes clear that not only the lack of financial support in film, but also the differences in length and the notion among the Dutch public that animation is for children are reasons for the differences in distribution, until they are finally exhibited side by side at the museum
The Agile AV-Archive
Get PDFWhat is the ‘essence’ of the AV-archive? With what is it tasked and how is it organised to fulfil these tasks? This document sets out to answer these questions. It sketches a picture of the audio- visual archive: its history, the profession and its most significant characteristics. It explains how the environment surrounding audio-visual archives has changed since 1980, and what effect this has had on the collections, the work processes and the staff. What were the struggles, what new strengths emerged? Finally it describes how these
archives have gradually positioned themselves against the traditional memory institutes, such as ‘classic’ archives, libraries and museums
The Persistence of Society-Driven Engagement in Swedish Cinema: A Locational Analysis, 1936-2016
No full textThis article underlines the importance of grass-roots civic society involvement in cinema exhibition in villages and towns in Sweden throughout the twentieth century. We investigate geographic patterns of cinema exhibition and ownership over time in a mixed rural cum (post)industrial region in the central part of Sweden known as Bergslagen. In a systematic comparison across temporal and geographic entities our analysis details the extent of civic society engagement in cinema. Our analysis suggests that civic societies contributed to the high number of cinemas in rural and small town Sweden as well as to the persistence of a surprisingly evenly distributed and decentralized pattern of cinema exhibition up until this day
Moving Pictures in Motion: Methods of Geographical Analysis and Visualisation in Comparative Research on Local Film Exhibition Using a Case Study of Brno and Ghent in 1952
No full textIn recent years, spatial digital tools have become an important part of New Cinema History research. However, the use of spatial visualisation methods remains inconsistent and the ground norms have yet to be established, especially in a comparative approach. In this paper, we explore the possibilities of working with spatial visualisation: what are the benefits of its use and what new perspectives on a given problem can this approach reveal? Drawing on a quantitative analysis of cinema programmes, we incorporate geospatial as well as temporal aspects of film trajectories. In doing so, we explore to what extent the communication between cinemas and their strategies of programming can be explained through the geospatial perspective. By visualising the film circulation within two mid-sized cities (Ghent in Belgium and Brno in the Czech Republic) in 1952, the method reveals patterns in film trajectories and relationships between the cinemas. These findings show the potential for the incorporation of geospatial visualisation in a comparative research design
Book review: De radio
No full textBook review of: Huub Wijfjes (ed.), De radio. Een cultuurgeschiedenis, (Amsterdam: Boom, 2019), 360 pp., isbn 978902441985
Just Say No: Dr Richard I. Evans Efforts to Influence Juvenile Behaviour through US Public Health Programming
No full textTelevision as a means of distributing public health information and influencing health behaviours was recognized even in the earliest days of broadcasting, a natural extension of health messaging on radio and film. This paper examines the place health-focused programming held in the United States’ educational television landscape and the role of Dr Richard I. Evans, social-psychology researcher, who sought to use television to influence the behaviours of youths engaging in “risky” activities
The Curated TV Experience with ‘Value Added’: Walter Presents, Canned TV, Curation, and Post-production Culture
No full textCanned TV has been a television industry practice almost from the start of television itself and was a way in which local/nationally-produced television programmes gained extra revenue by travelling, under licence, around the world. As well as providing extra revenue, this process also provided, often unintentionally, various opportunities for branding – both at the broadcaster level and at the national level. However, using Channel 4’s OD platform, Walter Presents, this essay will consider the state of canned TV in more contemporary terms related to global and transnational ideas where television in general, and canned TV in particular, describe a transformed media culture