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Exhibitor’s Cut: Travelling Cinema and Experiences of Cinemagoing in Taurus Highland Villages during 1960-1980
No full textBased on the New Cinema History approach, this article focuses on the cinemagoing experiences in the Taurus highland villages from 1960 to 1980 in Turkey. No previous study has investigated cinemagoing experience in rural Turkey. We explore who participated in the screenings and what the experiences of audience members were, in which places (fixed or ambulant) and under what circumstance s the film screenings took place, who the exhibitors were, and how procurement, distribution and exhibition mechanisms worked. We employed an ethnographic design and collected testimonies through oral history with villagers and also with travelling exhibitors and cinema operators. Our findings challenge a series of antiquated arguments on Turkish cinema history by reflecting upon grounded daily experiences in a often-ignored locality. These findings include issues such as cinema exhibition operated independently from the city, mobility and temporality of cinemagoing experience, performative audience, and open cinema spaces
Der Weg nach Rio in Brazil: Histoire Croisée, Public Diplomacy and Film-Historical Research
No full textThe article discusses the relevance of the histoire croisée approach that has been only marginally applied to film and cinema historical research. Histoire croisée is an approach to write history from a transnational perspective. It tries to overcome the conceptual shortcomings of comparative and transfer studies and integrates them into its theoretical framework. The case study of a political-cultural conflict between Brazil and Germany illustrates some of the methodological advantages of the histoire croisée approach. The paper argues that writing historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events that otherwise might be overlooked by comparative or transfer studies
Continuity and Change in British Public Service Television’s Engagement with Mental Health
No full textThis article explores factual television coverage of mental health by British public service broadcasters (PSB) from the post-war period, examining continuity and change by highlighting the range of voices given airtime, the variety of programme formats and stylistic presentation. It argues that British television has had a long commitment to educating the public about mental health, periodically examining mental health policies, and providing air-time for a range of perspectives. In addition, mental health conditions are now featured more widely, however newer factual genres emphasise experiential accounts and selfaccountability over critical investigation. By situating televisual representations of mental health within a historical framework of UK broadcasting and mental health policy, it contributes to the history of health and television, demonstrating the ways in which policy, broadcasting practices and cultural constructions of mental health are interrelated
Beyond Canned Television: BBC Earth’s Global Community Building and Coproduction Adventure in the Case of Tencent Video
No full textThe October of 2018 saw the creation of BBC Earth Tribe, a global online brand representing BBC Natural History Unit (NHU)’s programming on Tencent Video, one of China’s leading online streaming services. Besides providing over 650 hours of BBC documentaries to Chinese online audiences, BBC Earth Tribe delivers unprecedented access to creators from BBC NHU through interactive screen forms and offline events. This article offers a study of BBC Earth’s global strategies in its partnerships with one of the largest Chinese digital platforms, Tencent, in terms of coproduction and online community building beyond traditional canned television distribution. It examines Project Penguin, which has formalised coproduction partnerships between BBC Studios and Tencent Online Media Group (OMG) since October 2018. The distribution partnerships involve not only pre-sales of BBC Earth’s flagship documentaries but also coproduction and online community building on Tencent-run platforms, from streaming services to social media platforms. By examining BBC Earth’s distribution strategies in the Chinese media landscape from the early 2000s, the paper aims to theorise distribution strategies between BBC Studios and Tencent Video and its socio-cultural implications on television distribution in the digital, multiplatform era of convergence
Television, an Instrument for and a Mirror of Health and Health Services
No full textThis thematic issue of VIEW brings together articles that show how television has been an instrument for, as well as a mirror of, public service and specifically health services. Two approaches to this are featured and teased out. The first approach concerns health communication and campaigns, where information is diffused via television and strengthened or reinforced by visual and filmic means. The second concerns the structures that offer, manage and model norms of health and healthcare services. In introducing elements of the history of health, we hope to draw attention to the intersection of public health and television over the twentieth century, such that thinking about the relationship between them might change our understanding of both
“Very Nearly an Armful!”: British Post-War Comedy and the NHS
No full textWhile much has been written on post war British film and television comedy, there has been no critical focus on one of its key sub-genres – the medical comedy. This article aims to fill (at least some) of the gap in this scholarship. It chooses to focus on how several key medical comedies engaged the politics and ideological tensions of the fledgling National Health Service from the late 1950s to the 1980s. It will focus on the microcosmic representation of medical architectures and environments and consider how they provide spaces for political and ideological debate
Master of Photography: Investigating Transnational Creative Exchanges in the Production of a Ready-Made Talent Show
No full textItaly plays a peripheral role in the global market of ready-made shows, for historical reasons that pertain both to the marginality of the Italian language and to the scarcity of cultural and economic investments in the globalization of the products. This essay focuses on the analysis of Master of Photography, a docu-talent show produced since 2015 by the Italian indie B/Arts for the pan-European production hub that Sky Limited conceived to produce suitable content for the group’s national art channels (UK, Ireland, Germany, Austria and Italy). Going beyond the analyses concerning the global TV market, this research brings together the perspective of critical political economy and the studies on television’s production routines, with the aim of unveiling both the elaborate adjustments and the necessary compromises required by a cross-cultural creative process that has to meet the expectations and satisfy the tastes of different national audiences. Although the format offers the Italian prodco the opportunity to develop a new production model, with positive effects on the company’s international reputation, its potential influence on the globalization of Italian products and on the growth of ready-made show is still to be demonstrated
When German Series Go Global: Industry Discourse on the Period Drama Deutschland and its Transnational Circulation
No full textThe article takes a closer look at the current industry discourse on the transnational circulation of German series. At its centre is a case study of the 1980s period drama Deutschland (2015-2020), based on interviews with key executives and creatives. What is it that makes such ready-made TV fiction go transnational, according to the involved practitioners and in this specific case? Textual factors in particular are examined, such as the thematic and aesthetic extension of the historical-political ‘event’ miniseries through Deutschland. Furthermore, the article explores factors in respect to production, including screenwriting and financing, in the context of the dynamic TV landscape in Germany and Europe
Questions of Intermediality: An Analysis of Radio Listings and Radio Highlights in British Newspapers, 1920-1960
No full textRadio listings and radio highlights published by newspapers, have attracted limited scholarly interest. In many ways they appear as a form of information, reporting to the reader what the newspaper has been told will be broadcast that day. However, as I will argue in this article, radio listings and programme highlights provide an important insight into the intermedial relationship, which developed over time between radio and the print media. Indeed, the different forms they take are linked to the way newspapers and those that work there actively shape their coverage for their readerships. Listings are also important in how newspapers represent the geographic dimensions of radio, showing not only where the stations are broadcasting from but also where they are located on the airwaves. Again, these spatial representations change overtime depending on the needs and circumstances of the newspapers and broadcasters and developments happenings in the wider political, cultural and social context. In this work, I will present a discursive historical analysis of the listings and programme highlights found in British newspapers between 1920 and 1960 and how these forms came to represent radio in different ways for the readers. I will also, from this analysis, identify and develop concepts, such as the diachronic, synchronic, spatial and cultural intermediary, as important ways of understanding how the listings and programme highlights work to define and culturally position radio
Broadcasting the ‘Spanish Woman’. Nationalism and Female Radio Programmes During the Franco Regime
No full textThis paper aims to show how radio can be envisioned as a witness and agent of the transformations that operated during the forty-year Franco dictatorship in Spain. It analyses a number of radio scripts from the private station Radio Madrid to examine how the radio worked as a means to both affect and be affected by the sociopolitical events of the country. Its focus is on the discourse of programmes aimed at female audiences that exploited and re-educated housewives over the airwaves according to the regime’s interests. These programmes therefore served as a catalyst for state policies and the construction of the nationalist Project and also show the contradictions in the new femininity models manifested during the second Franco regime