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Collective Collecting: The Syrian Archive and the New Challenges of Historiography
No full textMassive digitization makes histories appear as well as disappear. While digital archives facilitate the access to documents, recordings, films, and other s urces there is the risk that offlin sources get lost. Thus, the question about how digital collections are generated is essential for today’s film and media historians. Which artefacts are getting digitiz d – and which are not? In addition, for what reasons? Who is responsible for preserving historical material? Moreover, how can we access it? How can we make sense of the abundance of audio-visual sources, which are at the same time ephemeral? In this article, we analyse tools and methods useful for coping with digital archives and databases. Presenting a case study on the Syrian Archive, we discuss how concepts of authenticity and provenance relate to current media practices. We argue that besides posing productive research questions, conducting critical online search becomes more and more important in the humanities. Therefore, we examine not only what but also how the use of audio-visual material affects us. Furthermore, we argue that regarding the abundance of material the practice of curating – of selecting, structuring, and providing access – becomes a key activity in digital media practices
Fingal's Cave: The Integration of Real-Time Auralisation and 3D Models
No full textFingal’s Cave: an Audiovisual Experience is an immersive virtual reality application that combines 3D models, a narrative soundscape and interactive auralisation in a recreation of a visit to Fingal’s Cave. This research explores the importance of audio in heritage visualisations and its practical implementation. Fingal’s Cave is a sea cave on the Isle of Staffa off the west coast of Scotland revered for its extraordinary acoustics. Audio is extremely important in the history and culture of Fingal’s Cave and it has long been romanticised, inspiring countless folklore, art, poetry and music. The visualisation is designed to encourage viewers to become a part of the cultural narrative and explore the cave for themselves, move around and speak to hear their voice auralised as it would be inside the cave. This is the first time the acoustic characteristics of a heritage site have been included in a visualisation in this interactive manner. This paper reviews whether auralisation is effective and meaningful and supports a creative response to heritage sites. The impact of the visualisation in terms of engaging with communities of interest and in the field of audio in heritage visualisation is discussed. The research suggests it is necessary that audio be included in heritage visualisations to give a full and complete understanding of how people experience it
Did Grace Kelly Shed a Tear? The Monegasque Royal Wedding as a Disruptive Television Event
No full textEarly television reveals the radical nature of the new medium as well as many of its affordances that were later rejected. The coverage of the Monegasque Royal Wedding of Prince Rainier of Monaco and Grace Kelly exposes the differences between cinema newsreels and live TV, and how, even at a public event, TV could invade the personal space of its subjects. Like a detective, the author reconstructs how this historical event was covered by film and TV, and how that footage was later re-used. The montage of the footage in different contexts encourages the audience to suppose that Grace Kelly might have shed a tear during the wedding ceremony. While this question might seem ridiculous to a republican, it is important for our understanding of celebrity in modern culture. The author’s answer to the question reveals the media historical meaning of both the media event, its coverage and the possible existence of that tear
Old Stories and New Developments: Engaging with Audiovisual Heritage Online
No full textIt is our great pleasure to present this special issue of VIEW Journal of European Television and Culture in honour of Sonja de Leeuw, one of the founding members of the journal. The issue brings together articles that honour Sonja’s inspiring contributions to television history and television historiograph
Metadatamodel Netherlands Institute for Sound and Vision
No full textThe NISV archive holds a variety of material, such as audio, video, images, documents and physical objects like cameras, costumes and papers. The metadata model contains the descriptive metadata for all these different asset types. The MAM-system is called ‘DAAN’. Its internal database holds all descriptive metadata as
well as technical metadata of the digital assets of NISV. This document gives an overview of the NISV metadatamodel. It covers all descriptive metadata, as well as most technical metadata of all assets
Op zoek naar de tweede helix: Over het milieubegrip en de ontrafeling van het DNA van de Nederlandse filmcultuur
No full textIn respect to the Cinema Context database, Karel Dibbets argued that basic data about the Who, What, Where and When of film exhibition and distribution represent the genes within the DNA of film culture. Building upon this imaginative use of the DNA-metaphor, this article seeks to develop the idea that the Cinema Context model contains only one of the two helixes of film culture’s DNA. In biochemistry, double helix is the term used to describe the structure of DNA, which consists of two spiral chains. The question is: what exactly constitutes the second helix of film culture? And what are the implications of the double helix structure for New Cinema Historiography? We argue that a wide range of data about audience practices and their everyday lives (from statistics about religious affiliation and population density to personal memories about cinemagoing) form the building blocks of the second helix and that these data need to be studied in interrelationship with each other. To bring focus into such research, we propose to use the concept of milieu as a heuristic tool and we explore its potential with a case study about moviegoing practices among Dutch Orthodox Protestants (Gereformeerden) in the Netherlandsin the immediate post-war era (1945–early 1960s)
Het taboe van de Nederlandse filmcultuur: Neutraal in een verzuild land
No full textDe Nederlandse filmcultuur is altijd een buitenbeentje geweest in Europa. Je hoeft daarvoor niet eens te wijzen op het geringe aantal films van Nederlandse makelij dat jaarlijks in de bioscoop verschijnt. Een betere maatstaf is het bioscoopbezoek: Nederlanders gaan aanmerkelijk minder naar de film dan andere Europeanen. Overal in de wereld draaien dezelfde films, alleen in Nederland komt er minder publiek op af. Er staan hier naar verhouding ook minder bioscopen dan elders in Europa. Nederland komt in alle statistieken steeds op de laatste plaats. Dat onderscheid heeft altijd bestaan voor zover we weten. Het zegt iets over Nederland. Direct over de grens met België en Duitsland begint een andere filmcultuur met meer hartstocht en een grotere intensiteit
Origins: A History of Race-ethnic Categorisation in the Dutch Governmental Data Ontology (1899–2018)
No full textIn this article, categorisation based on origins is investigated in the Dutch census reports produced between 1899 and 2018. Through this analysis, I will argue that the conceptual pair of autochthon and allochthon (until 2017 used to describe ‘native’ and ‘non-native’ Dutch people) is not a social construct, but rather a sociotechnical construct. Through this analysis, it becomes clear that where the category of the ‘foreigner’ at the beginning of the twentieth century was mainly related to a passport and place of birth, later national origins became a racially tainted concept. Pre-1980, counting machines at CBS only counted people’s information as selfdescribed; since 1980, computers have determined the identity of Dutch citizens. Today, governmental statistics based on the origins of Dutch people are available online for free and can be used by third parties for a variety of applications. Through this historical analysis, it becomes clear that the current practices are not the ‘standard’ way of categorisation, but rather one of the possibilities that are historically, socially and technologically situated
