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Eyewitnesses of History: Italian Amateur Cinema as Cultural Heritage and Source for Audiovisual and Media Production
No full textThe role of amateur footage in archiving and documenting the past has only been recently acknowledged in the Italian media landscape. The article makes a comparative overview of practices of appropriating and re-using amateur heritage in different European countries and in Italy from the 70s onwards, when home movies as audio-visual resources were discovered by television authors and experimental filmmakers. Television programmes and documentary productions based on amateur cinema such as Inédits in Belgium, La vie filmée in France, Familien Kino in Germany and later the European co-production Unknown War are just a few of the earlier examples of productions aimed at re-telling history through unknown and unofficial audio-visual materials. Unlike other European countries, Italy has been confronted with a lack of policies for the collection and preservation of private audio-visual documents, which has impeded the accessibility of this type of material. An early Italian example of a production re-using amateur footage, La nostra vita filmata (RAI, 1986), did not achieve its aim of reconstructing the 20th century history through the lens of private film material and the voice of the amateur authors and witnesses. At the beginning of the new millennium, an increasing interest in amateur footage led to the birth of the Archivio Nazionale del Film di Famiglia (Italian Amateur Film Archive), founded in Bologna by the Home Movies Association in 2002. Two successful later productions re-using amateur footage (Un’ora sola ti vorrei and La bocca del lupo) furthered the enthusiasm in Italy for archiving and accessing amateur film. All of these initiatives have strengthened awareness of the potential of amateur film to represent and recreate the past, using the bottom-up perspective of the eyewitness. This article is a descriptive piece of the different initiatives that have raised awareness of, accessed, and re-used amateur film archives in Italy as well as in other European countries
Nooit meer bladeren? Digitale krantenarchieven als bron
No full textMarcel Broersma No More Pages to Turn? Digital Newspaper Archives as SourceThis article analyzes the methodological challenges and the opportunities for future research that are triggered by the rising availability of large databases of digitalized historical newspapers. It argues that these are new sources that differ fundamentally from their analogue equivalents. Media historians have to be aware of the methodological problems that occur when analogue papers are transformed into digital objects. Especially searching digital data with key words is challenging. This implicates that scholars have to make their search strategies explicit and have to be transparent about their methodology. Moreover, it is argued that digitalized newspapers should not be used (solely) for ‘cherry picking’: the eclectic search for quotations that illustrate and liven up a historical argument. Instead newspapers should be considered a serial source that should be studied systematically. The availability of digitized newspapers could so encourage the study and the development of new methodologies for analysing newspaper content
Verkondiging en verstrooiing. Een geschiedenis van de NCRV (1924-2014)
No full textReview of: Peter Bak & Wim Berkelaar, Verkondiging en verstrooiing. Een geschiedenis van de NCRV (1924-2014), Amsterdam (Prometheus/Bert Bakker) 2014, 574 p. ISBN 978 90 351 4260
Mediahistorische reflecties over interactiviteit met communicatietechnologieën: Een inleiding
No full textEen kijkje in de historische ontwikkeling van mediatechnologieën en gemedieerde communicatie-processen laat interessante patronen in het publieke discours zien. De geschiedenis van de zogenoemde communicatierevoluties getuigt van een opvallende stabiliteit van narratieve structuren en discursieve patronen met betrekking tot de culturele en politieke betekenis van nieuwe media
Nostalgie en collectief geheugen: Kijkersherinneringen aan Vlaamse TV-fictie
No full textDit artikel brengt verslag uit van een onderzoek naar de historische receptie van Vlaamse tv-fictieseries. Het bouwt verder op mijn eerder onderzoek naar de rol van dergelijke series in de vorming van een Vlaamse identiteit, gebaseerd op analyse van de representatie van Vlaanderen, van de productiecontext en van de persreacties op de series. In grote lijnen werd daar gesteld dat Vlaamse tv-fictie, zeker in de monopolieperiode van de openbare omroep, bijdroeg tot de constructie van een Vlaamse ‘nationale’ identiteit, althans in de culturele betekenis van de term. Op tekstueel vlak uitte dit zich in de creatie van een specifiek beeld van het verleden, met bijzondere aandacht voor de Vlaamse geschiedenis, taal,cultuur en volksaard. Op productievlak ging dit gepaard met culturele Vlaamsgezindheid bij de beleidsverantwoordelijken, die de Vlaamse cultuur wilden stimuleren en bekend maken. De pers ten slotte stond kritisch tegenover Vlaamse tv-fictie, maar apprecieerde het Vlaamse karakter van de series. Wat in dit alles echter ontbreekt, is informatie over de feitelijke appreciatie door de kijkers.Welke series bekeken zij graag, en waarom? Speelden deze series een rol in hun identificatie met Vlaanderen
Van de Greet Hofmans-affaire tot Margarita-gate: De mediaconstructie van schandalen rond het koningshuis
No full textDe mediaconstructie van schandalen rond het koningshuis
The Challenges of becoming a Trusted Digital Repository
No full textHow do you create a full set of requirements that help audiovisual archives become a Trustworthy Digital Repository (TDR)? Annemieke de Jong, preservation officer at the Netherlands Institute for Sound and Vision, on remodelling archival processesand developing administrative and organisational policies
Picking Up (On) Fragments
No full textThis article discusses the implications for archival and media archaeological research and reenactment artwork relating to a recent arts practice project: Reenacttv: 30 lines / 60 seconds. It proposes that archival material is unstable but has traces and fragments that are full of creative potential to re-think and re-examine past media historical events through a media archaeological approach to reenactment. The article contains images and links to videos from the final reenactment artworks as well as from rehearsals in Vienna and Bradford