Sound and Vision Publications
Not a member yet
1244 research outputs found
Sort by
What is Not in the Archive: Teaching Television History in the Digital Humanities Era
No full textThis article discusses the pedagogy and outcome of a new assignment we introduced in the course ‘Television History Online’ at Utrecht University. We assigned the students the task to build a canon of a genre of Dutch television and create a video poster on the EUscreen portal consisting of clips that represent part of their canon. In our pedagogy, we argue that it is important to draw students’ attention to what is missing in the archive. Therefore, we offered the students the possibility to replace illegal clips with blue videos and clips of non-digital or lost television programmes with black videos in their video poster. We found evidence for an availability paradox: students let not only their selection of programmes and clips, but also the demarcation of their entire canon, be reliant on the digital, online availability of audiovisual material. At the same time, they explicitly did not want to be restricted by unavailability. In this article we stress the need for more open data and the importance of training digital literacy skills
Media Innovators en Auteursrecht
Get PDFDit rapport bevat de resultaten van een verkenning van de verschillende regimes op het terrein van auteursrecht tussen Europa en de Verenigde Staten. Deze verkenning richt zich in het bijzonder op de wijze waarop deze verschillende regimes van invloed zijn op de praktijk van
Nederlandse innovatieve mediabedrijven die actief zijn, of willen zijn, op de Amerikaanse mediamarkt. Het uitgangspunt daarbij is dat geconstateerde verschillen tussen de auteursrechtelijke regimes op beide continenten een relevante invloed hebben op de innovatie- en
exploitatiemogelijkheden van Nederlandse mediabedrijven in de Verenigde Staten
The Game-shaped Archive
Get PDFOver the past decades computer games have become an established part of a rapidly transforming media landscape. As such they cannot be ignored by cultural heritage institutions. The ephemeral and interactive qualities of games do require a varied and flexible approach to their preservation. Various methods of preservation must be combined in order to do justice to the various aspects of games as cultural heritage. A
playful attitude towards the preservation of computer games will help archives to navigate this complex and at times daunting task
Making Sense of the Data-driven: SETUP’s Algorithmic History Museum and Its Relevance for Contemporary Reflection
No full textReview of The Algorithmic History Museum, an installation created by SETUP. It was on display at the Dutch Design Week 2017 (21– 29 October 2017, Eindhoven, the Netherlands)
Alison Powell on Data Walking
No full textInterview with Alison Powell (London School of Economics) by Eef Masson and Karin van Es
Maps, Distant Reading and the Internet Movie Database: New Approaches for the Analysis of Large-Scale Datasets in Television Studies
No full textThe presence of large-scale data sets, made available thanks to information technology, fostered in the past few years a new scholarly interest for the use of computational methods to extract, visualize and observe data in the Humanities. Scholars from various disciplines work on new models of analysis to detect and understand major patterns in cultural production, circulation and reception, following the lead, among others, of Lev Manovich’s cultural analytics. The aim is to use existing raw information in order to develop new questions and offer more answers about today’s digital landscape. Starting from these premises, and witnessing the current digitisation of television production, distribution, and reception, in this paper we ask what digital approaches based on big data can bring to the study of television series and their movements in the global mediascape
Televisual Satire in the Age of Glocalization: The Case of Zondag met Lubach
No full textThis article analyses the highly popular Dutch satirical TV-show Zondag met Lubach (ZML) from the perspective of ‘glocalization.’ This places the show both within the global tradition of late-night satire, originating in the United States, and in the local Dutch tradition of satirical TV. A general overview of these traditions is followed by a close reading of one ZML segment, which is then compared to the American show Last Week Tonight with John Oliver. This comparison reveals the dominant influence of the American tradition of performing televisual satire, thus contesting the common assumption in television studies that nationhood still plays a central role in the practice of broadcasting
Because His Bike Stood There: Visual Documents, Visible Evidence and the Discourse of Documentary
No full textThe 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 in which the victim explains that he had seen the exhibition and wanted to pass in order to walk over to his bike, when the policemen attacked him. Van Gasteren used slow-motion and thus enhanced the effect of the images illustrating the young man’s narrative, a strategy used twenty-five years later by the defence lawyers during the infamous Rodney King trial. This raises the issue of how documentary footage is discursively framed to enhance its persuasive effect. Van Gasteren’s film is not only an important historical document, it also invites to reflect on the status of “visible evidence” ascribed to documentary footage
Identifying Cinema Cultures and Audience Preferences: A Comparative Analysis of Audience Choice and Popularity in Three Medium-Sized Northern European Cities in the Mid-1930s
No full textFor this study we have adopted a comparative approach to better understand the regularities and differences of cinema markets and cultures. Our subject is the film preferences and choices of audiences in the cities of Ghent (Belgium), Utrecht (Netherlands) and Bolton (United Kingdom) in 1934 and 1935. Saturday, January 5th, 1935 serves as a pivotal date and the starting point for analysis of the film programming data of these three cities. Our findings show that by adopting a comparative approach it is possible to detect ‘unique’ titles that reflect the peculiarities of the local film culture. The data confirms that audiences in Bolton, Ghent, and Utrecht were attracted strongly to films originating in their own or neighbouring countries, particularly if they contained elements of song and dance