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Let's Play! Exhibiting Video Game History and Play at the Museum
Get PDFIn line with moving towards a more multi-media institute – rather than focusing solely on the more traditional media channels of radio and television – the Netherlands Institute for Sound and Vision has decided to take up games in the existing collection. Next to collecting, or archiving, presentations are also made to the public through the NISV museum. An example is the Let’s Play exhibition, which ran from the 12th to the 20th of November 2016. Existing game exhibitions focus on games in context (history), games as activity (play), or games as digital objects. It has been suggested that the most successful gaming exhibitions deploy a multi-modal approach and use a combination hereof. The Let’s Play exhibition focused on all three elements; by presenting original hardware and titles, having them playable, and allowing for context through the use of paratexts (e.g. interviews and Let’s Play videos with developers). Although the goal was to present Dutch game history specifically, the exhibition featured many more foreign consoles and titles. This was due to the fact that Dutch game history of the ‘80s and ‘90s (i.e. titles produced in the Netherlands) is somewhat limited, and to provide visitors with more chances to play. Despite low turn-up rates on weekdays, the exhibition was deemed a success, as overall visitor enjoyment levels were high. Visitors enjoyed playing games on original hardware (e.g. Commodore 64’s or a Philips CD-I) and the amount of different consoles and titles were enjoyed by those familiar with the devices, but also by those who were not. Overall, visitor demographics were divided rather equally in age, which illustrates the broad interest in the topic, and all respondents surveyed are under the impression that games should take up an important place at the NISV
Archiving the Airwaves: Accountability of the Dutch Public Broadcasting System
Get PDFCombining television studies, archival studies and cultural history, this thesis asks the question to what extent public broadcasters in the Netherlands are keeping substantive and operational records that would allow for cultural accountability. Because of the unique setup of the Dutch public broadcasting system, there is no centralized archival system for written records of broadcasting organizations. Even though the broadcasters fulfil a central position in Dutch cultural society and provide a public service, they are not legally required to keep the records that give account of their actions and functioning. Only the governing body NPO has to comply with the Public Records Act and is thus required to carry out archival policies. Using a functional approach, this thesis explores the archival practices for written records in the Dutch public broadcasting system by comparing the situation at the NPO to that at the broadcasters. The research is framed in a concise historiographic account of Dutch public broadcasting and its history, followed by an analysis of recordkeeping practices and their purposes within public broadcasting organizations, explaining why archiving public broadcasting is important, even though this is not one of broadcasting’s priorities. At the end, the potential for a heritage institution like the Netherlands Institute for Sound and Vision as a repository for broadcasting’s written records is briefly examined
Meet the Predators: The Branding Practices Behind Dragons’ Den, Shark Tank, and Höhle der Löwen
No full textThe TV industry has traditionally relied on advertising and subscription fees for revenue. Recently, brand extensions and co-branding strategies have been rediscovered as income sources. A prominent example of such a strategy is the TV format Dragons’ Den, which has been locally produced in many different countries. We use this intriguing case to explore the extensive and intricate co-branding relationships and brand extensions in the business-to-consumer and the business-to-business settings of TV companies. Our paper analyses global adaptations and cultural branding of Dragons’ Den; in particular, brand extensions and co-branding strategies
Transgressing the Non-fiction Transmedia Narrative
No full textOver the last years, interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called ‘interactive and transmedia non-fiction’. While the audiovisual non-fiction field has been partially studied, a few years ago emerged a new field focusing on interactive and transmedia non-fiction narratives, an unexplored territory that needs new theories and taxonomies to differentiate from its audiovisual counterpart
AV Mania
Get PDFTussen 2007 en 2015 publiceerde Bert Hogenkamp, mediahistoricus
bij het Nederlands Instituut voor Beeld en Geluid en bijzonder hoogleraar aan de Vrije Universiteit Amsterdam, regelmatig blogs in zijn rubriek AV-Mania. Alle AV-Mania columns zijn hier verzameld. Ter afsluiting is bovendien een niet eerder gepubliceerde blog opgenomen. Hoewel de concrete aanleiding voor veel van de blogs – een editie van het NFF
of IDFA die op het punt stond te beginnen of juist net achter de rug
was, de presentatie van een nieuwe dvd-box of van een boek, of een specifieke tentoonstelling die aan de audiovisuele media was gewijd – een gepasseerd station is, hebben de columns zelf niet aan actualiteit verloren. De hoofdthema’s zijn documentaire en opdrachtfilm, hun makers en audiovisuele archieven, op de eerste plaats dat van Beeld en Geluid
Remembering Operación Triunfo: A Latin Music Reality Show in the Era of Talent Shows
No full textThe music format Operación Triunfo (2001–2011), which aired on RTVE for the first time in 2001, started as a television (TV) and musical success in Spain and today is one of the most famous shows around the world as well as an incredible socio-economic phenomenon in Spanish TV. This paper describes the format concept and results. Both commercial and social aspects are introduced to understand why, after 15 years, it is remembered with nostalgia and remains a shining example of a good communication project and a perfect balance between the global and the local, despite the lack of great success in the following years in Spain and abroad
Editorial
No full textThe history of television programmes sold internationally for local adaptation—today commonly referred to as ‘TV formats’ in both industry and academia—can be traced back to the 1950s
Aligning Participation with Authorship: Independent Transmedia Documentary Production in Norway
No full textIncentives to develop non-fiction transmedia projects have recently challenged the work practices of independent documentary filmmakers in Norway. However, research on documentary films has only minimally captured the emerging practice of making non-fiction transmedia. Based on an interview study undertaken in 2012/2013 and reflections on contributing to a recent non-fiction transmedia project, I find that the emerging practice faces many of the same challenges as the participative documentary practice of the 1970s, mainly that the facilitation of audience participation requires a break from the broadcasting logic of independent documentary film work
Story, History and Intercultural Memory: Can a Transmedia Approach Benefit an Archive-Based Documentary Project?
No full textThe transmedia approach to archive images in contemporary space invites spectators to effectively interfere in the historical narrative—as a real-time scriptwriter and editor. In this article we introduce a transmedia documentary project, História(s) do Brasil (Anita Leandro and Marida Di Crosta). In so doing, we revisit and expand an unfinished pedagogical project by 1970s filmmaker Glauber Rocha. Based on the analysis of current experiences like the European interactive cross-media documentaries like Farewell Comrades!, our study focus on how transmedia can benefit an intercultural television tie-in archive-based documentary
I’m Sorry I Don’t Have a Story: An Essay Involving Interactive Documentary, Bristol and Hypertext
No full textThis essay provides an introductory analysis of Alisa Lebow’s interactive documentary Filming Revolution. It approaches the work from the point of view of new media, rather than documentary, arguing that the work adopts an important non–narrative form as a way to describe revolution, and to prevent the foreclosure that story enforces. This essay is experimental to the extent that it tries (with mixed fortune) to introduce the essayistic into scholarly writing, and, perhaps, tries to find room for some of the qualities of the essay film in a personal academic practice