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Aesthetic Proximity: The Role of Stylistic Programme Elements in Format Localisation
No full textImplications of the transnationalisation of television are often studied by focusing on the localisation of the content of formatted programmes. Although television is essentially an audio-visual medium, little attention has been paid to the aesthetic aspects of television texts in relation to transnationalisation and formatting. Transnationalisation of production practices, such as through formatting, implies a transnational aesthetic. At the same time, aspects of style are specific to place, culture or audience. In this article, the localisation of stylistic programme elements is explored using a comparison of two reality format adaptations. It is argued that style plays an important role in the expression of the local in a transnational industry
A Transmedia Topology of Making a Murderer
No full textThis article constructs a transmedia topology of the Making a Murderer text, mapping the ecologies of interaction, participation and creation with and of the text by the audience. Firstly we explore the mixed textualities of the series delivered through the streaming service Netflix. We then expand the analysis to consider the wider transmedial textualities and trace the thresholds of the transmedial text to investigate new approaches to analysing transmedial work in the context of non-fiction media forms. We explore the relationships between the core series and the participatory engagement in the production of the text as a whole which includes online engagement, active investigations, and the production of a wide range of new material in response to the core series. Here we define transmedia topology as a tracing of what we could call the geography of the text, as defined by its features and boundaries (or lack thereof).We situate the series as a piece of Complex TV, but explore how the series invites active participation from the audience; through its structure, complexity and form. The article maps the series textual connections with more traditional documentary form, and more experimental transmedial approaches, relating it to Alternate Reality Games. We consider (at the time of writing and publication) the tangible, real world outcomes of the text and the audiences participation in the production of the text. This mapping situates the text within a number of media discourses to understand its media geneology and explore its textual trajectories.This mapping explores both the 10-part series, and the wealth of paratextual material as a text together, mapping the connections between the documentary series and the emergence of a transmedial textuality that is owed largely to audiences and the textual terrain
Emergent Principles for Digital Documentary
No full textDigital Documentaries are an area of rapid invention and experimentation at all levels, including creative content, production techniques, and business models. As with many forms of digital storytelling, a focus on technologies can be distracting; platforms change rapidly, and are dependent on external commercial forces rather than creative potential. This article presents several design strategies for driving experimentation in digital documentary above and beyond the specific of platform and technology. The core focus is on treating digital docs as experiences, with an expanded range of designable moments, as well as a strategic approach to designing interactions for their unique set of challenges. The discussion is not intended to fully define digital documentary design factors, but rather, defines a useful subset of methods that can lead emerging practitioners to new innovations in their approach
Erfgoed en virtual reality. Een gedroomde combinatie
No full textVirtual reality in de vorm van de head mounted display is al lang een gedroomd medium waarmee we nieuwe werelden willen creëren en betreden. Hoewel de technologie al een tijdje bestaat, zijn er onlangs nieuwe mogelijkheden ter beschikking
gekomen waarmee we virtual reality op grote schaal thuis en om ons heen kunnen verwachten. Wat is er nieuw en welke mogelijkheden zijn er? We kijken naar enkele interessante voorbeelden van VR-toepassingen in de erfgoedsector. Hoe kan VR bijdragen aan onze missie om het verleden levend te houden en open te stellen voor een groot publiek
Open is as open does. How to use open content in a personalized interactive museum exhibit
No full textOpen is as open does. Open content has been a hot topic in heritage for several years. The Netherlands Institute for Sound and Vision has long been a front runner when it comes to supporting open standards and free re-use of our collections. Surprisingly enough, we never tried it the other way around: using open content to create an exhibit. So when we started to develop an exhibition celebrating the 50th anniversary of 3FM - one of Holland’s main public pop radio channels - we asked ourselves: would we be able to create a personalized, interactive videomapping exhibit using mainly open content? During a How-To-Session Karen Drost and Maarten Brinkerink will dive into how we managed this, and share what we learned
Transforming 'Female' Programmes: Don’t Tell the Bride from International TV to Italian Digital Channels for Women
No full textContemporary Italian digital channels explicitly targeting women (such as Real Time, Lei, Fox Life, La5, and La7d) represent a privileged observatory for some general trends in the international circulation of content and incorporation of foreign formats into national television (TV). In fact, their schedules rely heavily on the genre of factual entertainment, which was first devised and used in international contexts, such as the UK and the US, and only in the second phase was imported into other national TV environments.After introducing this scenario and the main issues connected to the circulation of international content on these channels, the article will focus on the BBC docu-reality Don’t Tell the Bride. The show was extensively circulated (UK and US versions) in the circuit of Italian women channels before a national version was produced by the pay-TV brand Lei. The article will reflect on how the national version Non ditelo alla sposa added further shades to the original meaning of the format. While the international version only allowed the Italian audience to engage with the programme through a romantic and escapist approach, the local adaptation inserted practical advice in the storytelling on how to arrange a low budget yet traditional wedding day, coupled with the sarcastic and ironic points of view of the characters involved
De typografische vormgeving van informatie over medicijnen: een diagnose in historisch perspectief
No full textEffective, appropriate and safe usage of medicines is only possible if they come with clear instructions, recommendations, descriptions and warnings. Clear information about medication does not only benefit seniors, who consume the greatest amount of prescription drugs, but also users in other age groups, such as children and their caretakers. The typographic design of this information plays a crucial role, but is, unfortunately, rarely optimized to suit different reading audiences’ needs. Still commonly seen are poorly readable patient information leaflets with ‘small font on translucent paper’ stowed in generic paper packaging. The lacking typographic design can mostly be explained by historically determined legal and economical requirements. European legislation, for example, demands a conservative approach, mainly to reach standardization. The pharmaceutical industry is hesitant, out of fear that the changes will come at high costs. Both explanations make it difficult to meet the professional principles of typographic designers striving for optimized transfer of information. This is the crux of the matter, the reason why convenient, readable medication information leaflets are in short supply. This article examines two underlying questions. When it comes to drug information, there have been three pivotal changes in society: patients are more actively involved in their own treatment; patients’ cultural backgrounds are more diverse; and there is a growing demand for digital information. The first question is: why have these changes in society barely made an impact on the typographic design of information leaflets? The second question is: why is existing professional knowledge hardly utilized, such as insights into readability, or the practical knowledge and experience developed for the pharmaceutical industry by prominent representatives of the Swiss Style (=‘International Typographic Style’)
Periodical Archaeology: Digital Production, Critical Discourse and Textual Communities in Emigre
No full textPublished in 1989, Emigre magazine’s eleventh issue, Ambition/Fear: Graphic Designers and the Macintosh Computer, contains vivid artifacts of a discipline’s first encounter with digital tools. From the aesthetics of bitmaps to the expressive interventions made possible by new access to typesetting controls, not to mention the self-publishing venture of the magazine itself, this issue combines modernist and postmodern agendas in a model construction of text-based community. Looking closely at Emigre #11 and more passingly at later issues, this article analyses the technical, critical, and cultural production that would shape Emigre as a medium for typographic demonstration and discussion among peers
‘Ils ont bombardé Reims et nous avons vu cela!’1: Eerste Wereldoorlog als katalysator van de verslaggeving ter plaatse
No full textDe Eerste Wereldoorlog beteugelde niet alleen de vrije informatiegaring van de Britse, Nederlandse en Franse pers,maar gaf ook een impuls gaf aan de ontwikkeling van de professionele praktijk van de journalistiek. In het oorlogsgebied en in de buurt van het strijdtoneel raakten de journalisten doordrongen van de verantwoordelijkheid die op hun schouders rustte. Ondanks de ingrijpendemaatregelen van de autoriteiten omhun verslaggeving te beteugelen en te controleren, poogden deze verslaggevers om een betrouwbaar beeld van de oorlogssituatie te schetsen. Een analyse van oorlogsreportages van Britse, Nederlandse en Franse journalisten, respectievelijk William Beach Thomas en George Ward Price, Jean Louis Pisuisse en Johan Lüger, en Albert Londres, laat zien hoe de oorlog deze verslaggevers dwong om op hun eigen ogen en oren te vertrouwen en op basis van hun observaties een impressie van de werkelijkheid te geven. Ze zagen hun status als ooggetuige als teken van autoriteit en betrouwbaarheid. De nadruk op de ‘mediating subjectivity’ van de verslaggever betekende echter niet dat er al sprake was van de opkomst van het objectiviteitsregime