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Persvrijheidslezing 2017
Get PDFPress Freedom is a pressing matter for several countries in the world, Turkey, my country included. However, today on a more global level people of the press are equally interested in another matter, which we chose to call Post-truth. All around the world in various contexts and levels, journalists, writers, artists, intellectuals, and politicians are discussing the matter. Even in the countries where the press is considered to be the freest, journalists do not feel free when it comes to the profession being strangled or choked by the massive operation of “creating alternative truth” or fake news
I Want My MTV, We Want Our TMF: The Music Factory, MTV Europe, and Music Television in the Netherlands, 1995-2011
No full textThe Dutch music television channel, The Music Factory (TMF), launched in 1995, presented a local alternative to MTV Europe, owned by the US-based conglomerate, Viacom. In 2001, Viacom took over TMF, which by then proved to be far more popular than MTV Europe among young Dutch viewers, and for three years, turned TMF into a text-message-based “interactive” music television channel. In 2011, Viacom discontinued the TMF brand. This article places the relatively short history of TMF within the contexts of the emergence of commercial television in Europe and the shift of music videos from television to other media platforms, as well as broader discussions of globalisation
East Meets West: The Cultural History of Television in Bulgaria
No full textThis study provides a glimpse into the cultural history of the popular medium of television for the period 1944-2016. Seeking a more nuanced and more evolved understanding of the role of the television in Bulgaria during socialist and in post-socialist times, this essay argues for a ‘situated’ reading of these historical developments, theorising that socialist and post-socialist television are indeed defined by disparate, yet equally influential and dynamic, cultural and political processes. From the ‘golden age’ of communist-era television, during which TV was hailed as a main force for mobilisation, education and entertainment, we will trace the ‘boom’ in commercial TV channels at the offset of the transition, with its often-questionable quality, leading to the emergence of several serious contenders on the broadcasting scene, both in terms of their financial value and in terms of their power over public opinion
Editorial
No full textThis issue on the History of Private and Commercial Television in Europe may help deepen our understanding of how the commercialization of television has shaped media culture in Europe. It offers a scholarly view on the history of private and commercial television in Europe, addressing institutional, technological, political, and cultural perspectives, and their entanglement, so as to allow for transnational comparison
The Marvelous Clouds: Toward a Philosophy of Elemental Media
No full textBook review of John Durham Peters. The Marvelous Clouds: Toward a Philosophy of Elemental Media The University of Chicago Press, 2015, 410 pp. ISBN 9780226421353
Film Distribution in Occupied Belgium (1940–1944): German Film Politics and its Implementation by the ‘Corporate’ Organisations and the Film Guild
No full textThe military successes achieved by the Wehrmacht in the first years of World War II, provided Nazi Germany with the opportunity to realise a long-dormant ambition of cultural hegemony. This article, focusing on film distribution in German-occupied Belgium (1940–1944), investigates the concrete steps that were taken to bring this new cultural order into practice and identifies the obstacles the German Propaganda Division (‘Propaganda-Abteilung Belgien’) encountered. Through various measures, the number of Belgian film distributors, and the number of films offered by them, were reduced. The market position of German film in general and of German film distributors Ufa and Tobis in particular, was fortified. Nevertheless, these measures did not lead to a complete German market monopoly. This would have been politically undesirable, but also turned out to be economically impossible. Towards the end of the war, the cultural, ideological, but also the undeniable economic mission to make German films as strong as possible in occupied Belgium, proved incompatible with the German war economy
De kansen op Youtube voor het delen van audiovisueel erfgoed
Get PDFIn deze scriptie wordt onderzocht hoe het Nederlands Instituut voor Beeld en Geluid de kenmerken van videoplatform YouTube kan benutten om een (inter)nationaal publiek kennis te laten maken met digitaal audiovisueel erfgoed. Gedurende dit onderzoek worden de statistieken van het YouTube-kanaal van Beeld en Geluid geanalyseerd. Ook wordt onderzocht welke verbindingen er door het onderliggende neurale netwerk van YouTube gecreëerd worden en hoe deze benut kunnen worden om nieuwe kijkers te bereiken. Op basis van de resultaten die verkregen zijn uit dit onderzoek is een aanbeveling voortgekomen voor de manier waarop de Marketing en Communicatieafdeling de inzet van het YouTube kanaal kan versterken
New Life for Old Media: Investigations into Speech Synthesis and Deep Learning-based Colorization for Audiovisual Archives
Get PDFThe Netherlands Institute for Sound and Vision (NISV) is the national audiovisual archive and media museum of the Netherlands. The collections comprise of over one million hours of audiovisual material. One of the collections is that of the so-called “Polygoon” newsreels from the 20th century. This paper outlines recent explorations where Artificial Intelligence technologies are used to enrich this archival material to allow for new types of engagement. Firstly, we investigated leveraging an existing, limited corpus of broadcast narration by a single person to build a working text-to-speech (TTS) system. Secondly, we
investigated the possibility of colorization of old black-and-white video footage from the Polygoon newsreel collection using Deep Learning approaches
From PSB to Privatisation: Structures and Vulnerabilities of the Greek-Cypriot Broadcasting Sector
No full textAround the world, the historical evolution of television follows every country’s history and is closely related to the structures of every society within which it operates. In Cyprus, broadcasting remained under the direct control of the state for more than thirty years while significant political events can be associated with changes in the audiovisual media landscape. Public service broadcasting (PSB) television was established in 1957, only three years before the country denounced British colonialism and became an independent Republic, under the auspices and guidance of the BBC. For thirty-five years, the one and only PSB television channel was predominating the country’s broadcasting sector and it was only in 1992 that private television channels were allowed to operate. As expected, broadcasting suffered a series of political demerits that left narrow margins for growth and technological development. This article presents a historical overview of the evolution of television in the country in accordance to the specific historical artefacts that took place and generated a series of disadvantages still reflecting upon the Cypriot private broadcasting sector. The aim of the article is to present the interrelation between private broadcasting and politics and its current aftermath in Cyprus. Through a comparative analysis of different surveys (conducted after 2000) depicting the audience’s points of view regarding private and PSB television, this study highlights the specific characteristics, structures and vulnerabilities of the current broadcasting sector in Cyprus
Canal + Spain and Live Football Broadcasts: A Whole Different Game
No full textThe main goal of Canal + Spain was to reach a significant amount of subscribers by offering programming unavailable on other channels. Following the French programming model, Canal + adopted a logic of product differentiation and technological innovation. It featured two main types of content: a diverse roster of films, shown shortly after their theatrical release, and perhaps most importantly, the innovative broadcasting of live sports events, more specifically, football.This article focuses on sports programming in the beginning of Canal + Spain. First, it offers an account of the Spanish television landscape in the late 1980s and early 1990s. Then, it scrutinizes the arrival of commercial television within the Spanish mediascape, thus examining the launching of Canal + by paying attention to the specificity of the Spanish audiovisual market. Second, this essay analyzes the types of live sports broadcasts, focusing on football, in Canal + during the early 1990s in order to account for their importance in creating a unique kind of product designed to appeal to potential subscribers. More specifically, we will argue that live football broadcasts did not only attempt to establish a clear demarcation with the old-fashioned image and soundscapes of traditional television, but also aimed at culturally appealing to a urbanite, cultivated spectator, precisely the type of viewer Canal + tried to recruit in its early days. Therefore, we will discuss how technological excellence and spectacle became tools for the expression of specific cultural values. In short, Canal + offered a content and technology-driven “change of aesthetics” within the Spanish mediascape in the early 1990s