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Keeping Up the Live: Recorded Television as Live Experience
No full textIncreasingly new media platforms are making claims to liveness. Looking back in television history we also find programmes that were recorded, but kept up the claims of being live. This raises the question as to what accounts for the attraction of the live? Focusing on Ein Platz für Tiere and the Netflix Live spoof of 2017 this article discusses disparate articulations of the live and addresses the need to balance freedom, chaos and control on the part of media producers. For their greatest challenges is that boredom and chaos haunts their output simultaneously. It clarifies also how liveness is not a given property of any technology, but in fact hard work
Magie en wetenschap in de spektakelcultuur van de negentiende eeuw: Henri Robin in de Lage Landen
No full textMagic and Science in the Nineteenth-century Culture of Spectacle: Henri Robin in the Low CountriesThe theatre of modernity served to illuminate scientific insight and discovery in a spectacular way. Astronomy, physics, and experiments with electricity were at the heart of a popular genre that became known as ‘physiques amusantes’ (amusing physics). These shows occupied a middle ground between entertainment and science, between showing and doing. They were often staged by magicians, who presented themselves as ‘professors’ and awed audiences at local fairgrounds, world’s fairs, and popular theatres. One such figure was Henri Robin (1811–1974). Reviews and images dating from Robin’s time in Belgium and the Netherlands and his own memoirs of his time in Paris reveal that he found himself at the crossroads of a number of key developments. In particular, Robin’s theatre practices shed light on the changing nature of spectacle in the latter half of the nineteenth century. His shows succeeded in maintaining a precarious balance between spectacle-driven entertainment and scientific learning, between visually-oriented fairground amusement for the masses and educational fare for the new bourgeoisie. This article will discuss the complex relationship between aesthetic and didactic concerns in Henri Robin’s theatre shows, their remarkable blend of science and magic, and their effect on audiences. At the same time, we will demonstrate that the spectacle of modernity in the Low Countries resulted in part from the international mobility of showmen such as Robin
FREEZE! A manifesto for safeguarding and preserving born-digital heritage
Get PDFFinding ways to preserve born-digital heritage
has become a matter of urgency and growing
concern. Websites, games and interactive
documentaries each bring specific challenges
that need to be addressed. It takes three to
tango: Ensuring that our digital lives and digital
creativity are not lost to future generations
requires a joint effort by the principal players:
creators, heritage professionals and policy
makers. This manifesto lays out the actions they
need to take today to safeguard born-digital
heritage
Russia’s STS Television Network: A Cultural Window to the West
No full textPerspectives on Russian television focus mainly on state controlled networks. Russia, however, also has several important commercial televisions stations to whom little attention has been given. The most important of these stations is the entertainment network STS. The station was founded in 1996 when a subscription station AMTV merged with Saint Petersburg based broadcaster Channel Six and several regional stations to form Russia’s fifth national broadcaster. After airing primarily Hollywood and Latin American series in the 1990s, the station began to produce Russian language series in 2003. Today the station is one of the most important entertainment brands in the former Soviet Union. This paper traces the history of STS and its importance in bringing new genres and production techniques to Russia. It also maps the network’s explosive growth in the 2000s and its relationship with major Hollywood studios, most notably Sony. The influence of the station’s two most important executives Alexander Rodanyansky and Vyacheslav Murugov is also examined. The paper then theorizes on what STS’ current strategy may yield and what its current programs suggest about the changing nature of the Russian television market in an increasingly politicized environment
‘Remember, it’s Just Television’: Rubicon TV and the Commercialisation of Norwegian Television
No full textThis article investigates the historical development of one of the most successful television production companies in Norway, Rubicon TV, focusing on its changing leaders, their mission statements and programme portfolios. Based on primary historical documents, the article shows how the various CEOs of the company have consistently argued that television is not a ‘window to the world’, but a harmless medium for light, engaging entertainment. This understanding was originally a reaction to the perceived elitism and paternalism of public service television, allowing the company leaders moral leeway to produce provocative and innovative programmes that came to change the Norwegian television landscape
De opkomst, bloei en ondergang van het videojournaal
No full textWat betekende de komst van video in de jaren zeventig en tachtig voor de opdrachtsector in Nederland? Wie profiteerden ervan en wie waren de verliezers? In dit artikel wordt gekeken hoe de introductie ervan verliep
Een zeer korte videogeschiedenis
No full textHet Tijdschrift voor Mediageschiedenis / Journal for Media History heeft sinds haar eerste uitgave in 1989, toen nog het Jaarboek Mediageschiedenis, over vele typen media geschreven: televisie, film, radio, digitale media, geschreven pers, amateurfilm en zelfs grafische vormgeving. Video heeft daarentegen niet of nauwelijks aandacht gekregen. Mede daardoor is een lacune ontstaan in een brede historische duiding van een elektronisch medium dat vele toepassingen en verschijningsvormen heeft gekend tijdens haar bestaan in Nederland. Om een klein, bescheiden, beginnetje te maken, biedt TMG een dossier, met als doel om video als historisch medium te agenderen. Het is tijd om terug te kijken en de rijke geschiedenis van video in kaart te brengen
In Memoriam: mediahistoricus Karel Dibbets (1947–2017)
No full textIn memoriam of media historian Karel Dibbets (1947-2017)
Designing and Building the Post-Analogue Audiovisual Archive
No full textThis paper addresses the challenges related to the role and function of audiovisual archive institutions as the environment in which they operate becomes increasingly digital and networked. The context is the Netherlands Institute for Sound and Vision (Sound and Vision), a leading audiovisual archive that successfully transitioned to the digital domain. Its ever-growing collections today comprise more than a million hours of audiovisual content, ranging from film to television and radio broadcasts, music recording and web videos. For eight years now, born-digital assets from various sources have been incorporated in a state-of-the-art digital archive. Most of the analogue holdings have been digitised through a national digitisation programme that ended in 2015. Operating in such a new, post-analogue context has profound implications for institutes, The fundamental challenge is how the public mission of archives (ie, supporting a myriad of users to utilise collections to learn, experience and create) can be achieved in a digital context. ‘Creative technology’ plays an important role in building the audiovisual archive of the future. To manage the transition, Sound and Vision launched a process of internal review and assessment. On the course of this two-year process, it drafted a new mission statement, defined a new strategic plan and built a new organisational structure from the ground up
Preserving the emerging: virtual reality and 360-degree video, an internship research report
Get PDFThis research paper explores the preservation of virtual reality (VR) and 360-degree video within the
museum/memory institution context. Both formats are of interest to the Netherlands Institute for
Sound and Vision (NISV), as they consider how their collection will expand to archive newer moving
image formats. Preservation issues such as a lack of standardisation, complex file formats, proprietary
software and hardware will be examined as well as some preservation strategies for these emergent
technologies