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‘Great Stuff!’: British Pathé's YouTube Channel and Curatorial Strategies for Audiovisual Heritage in a Commercial Ecosystem
No full textIn 2014, British Pathé launched its YouTube channel with more than 85,000 items of audiovisualheritage from the 20th century. This article analyses the curational strategies of this channel as developed bythe German multi-channel network Mediakraft in consideration of YouTube’s algorithms and supposed userexpectations. This article argues that, in the context of YouTube’s commercial ecosystem, Mediakraft’scuration emphasizes celebrities, spectacular historical events, and curiosities to attract users online
The benefits of linking Thesauri for internal users.
Get PDFIn this research we look at the Netherlands institute for Sound and Vision as a case study to find out what the advantages and possibilities of linking their thesaurus to an online knowledge base are. Sound and Visionmanages an audio-visual collection concerned with the Dutch media cultural heritage. They have chosen for Wikidata as the external dataset to enrich their collection with, through links with an internal vocabulary, GTAA. This research is part of a broader research into the advantages of using linked data at Sound and Vision. This part of the research focuses on the internal users while the other part focuses on the external users. In this research we look into the existing data contained both within the thesaurus of Sound and Vision and Wikidata. A statistical analysis is conducted to answer questions on the completeness and richness of the data. Also, several internal users of different departments of Sound and Vision are interviewed in an effort to extract use cases for an enhanced collection. Using the interviews, use cases are set up and (conceptual) prototypes are built to satisfy said use cases. The (conceptual) prototypes are then evaluated for their usefulness and added functionality. A comparison between the internal and external users and their different wishes is drawn. This research shows the differences and similarities between the existing thesaurus and Wikidata. It brings forth three use cases and lays a down a framework for future work in similar case studies
Preservation Metadata Dictionary 2.0
Get PDFThe goal of the Preservation Metadata Dictionary (PMD) is to describe the attributes of digital objects in the Digital Archive as well as how said objects are to be processed and managed. This document describes version 2.0 of the PMD which replaces PMD version 1.2. A beta version of PMD version 2.0 was released at the end of 2016. Since then, it has been tested in practice and in some areas, improved
De nieuwe mens. De culturele revolutie in Nederland rond 1900
No full textReview of: Auke van der Woud. De nieuwe mens. De culturele revolutie in Nederland rond 1900, Prometheus – Bert Bakker, 2015, 352 pp
Mirko Tobias Schäfer on Entrepreneurial Research
No full textInterview with Mirko Tobias Schäfer (Utrecht University) with Eef Masson and Karin van Es
Writing Cinema Histories with Digital Databases: The Case of Cinema Context
No full textThe increasing availability of films and cinema-related heritage in digital form, as well as the creation and use of structured datasets related to the contexts of film production, distribution and consumption, have invited the use of new, computational approaches for studying cinema and its history. In this article, we review the online database Cinema Context (www.cinemacontext.nl) and its impact on the study of historical film cultures. Cinema Context is a relational database and research instrument for studying the history of film culture in the Netherlands. After an introduction to Cinema Context and its position within the international research context, we address its usage in order to discuss the opportunities and challenges of transforming a complex phenomenon such as Dutch film culture into structured data, and we reflect on its implications for film historical research
Is the End of Television Coming to an End?
No full textThis article analyses the discourses of the end of television in relation to its status as a bad object. It traces the early, transnational, massive negative treatments of television. It suggests four explanations for this: sociological (television as a popular medium), economical (disappointing investment), metapsychological (frustrating experience), technological (insincere dispositif). It suggests that discourses of the end are coming to an end, because television is becoming a kind of archive, increasingly considered nostalgically, while its ‘quality series’ are achieving canonical aesthetic status. Finally, it suggests that discourses of the ends are organized into systems of interdependent ‘good’ and ‘bad’ media
Editorial Special Issue Audiovisual Data in Digital Humanities
No full textThis issue of VIEW provides a critical survey of new digital humanities (DH) methods and tools directed toward audiovisual (AV) media. DH as a field is still dominated by a focus on textual studies (studies of word culture) that are largely “deaf and blind” in their capacity to search, discover, and study AV materials. The mandate to improve these capacities is clear and unquestioned, though the pathways are fecund and numerous. New and emergent tools related to deep learning algorithms are reasonably expected to change this methodological landscape within the digitally accelerated near-future
‘On the Road Again’: An Experimental Media Archaeology Journey to the Origins of Transnational Television in Europe
No full textThis video documents the authors’ journey back to the origins of transnational television in Europe. Inspired by the idea of experimental media archaeology (EMA), the trip to original locations of the transnational media event known as ‘Paris-week’ in 1952 illustrates a new approach to media historiography, which aims to sensitize television historians for the material remains, topography and physical spaces of early television transmissions. Readers /viewers are invited to watch the different episodes of the authors’ journey by clicking on the figures
‘Failed Interviews’: Doing Television History with Women
No full textThis article zooms into the practice and historiographical implications of doing television history with women. Drawing primarily upon interviews with women having worked at Romanian television during communism, the article develops a conceptual understanding of ‘feminine voices’ as primary sources into television history. It situates these gendered historical sources within historiographical practices of accessing neglected, marginalized or silenced areas in television history, in other words, the ‘blind spots’ in the medium’s history