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De betekenis van producent Jean Van Raemdonck voor de Vlaamse film
No full textUitgaand van origineel archiefmateriaal, verzamelde persartikelen en interviews gaat dit artikel in op de productieactiviteiten van Jean Van Raemdonck, die zich uitstrekken van kunstdocumentaires over televisieproducties tot prestigieuze langspeelfilms. Als hoofd van de productiemaatschappij Art et Cinéma of Kunst en Kino droeg hij in belangrijke mate bij aan de professionalisering van de Belgische audiovisuele industrie in het algemeen en van de Vlaamse filmsector in het bijzonder. Van Raemdoncks professionele gedrevenheid kwam ook tot uiting in een sterke persoonlijke betrokkenheid bij zijn producties, wat wijst op de complexiteit van het creatieve autoriteitsvraagstuk. Op zakelijk vlak was Van Raemdoncks grootste talent ongetwijfeld het samenbrengen van de nodige financiële middelen, wat geïllustreerd wordt door zijn moeilijke, maar meestal zeer vruchtbare relatie met de Vlaamse filmsubsidieregeling
Gedigitaliseerd maar onbenut: Erfgoedwebsites en het geschiedenisonderwijs
No full textOlivier Nyirubugara Digitized but underutilized. Heritage websites and teaching history Cultural heritage collections are to be found in cyberspace. Almost all heritage organisations have websites showing their collections. Digitizing the collections to present them online was not just meant to preserve old and fragile objects. Another goal was to be achieved, namely to strengthen the Dutch national identity, in particular that of young people. Two case studies are presented in this article: how do thirteen and fourteen year old pupils use the digitized collections with their history assignments? This research shows that websites of the cultural heritage organisations are not popular among these pupils. Hence the question why they make so little use of these websites. The main explanations for this appears to be that the websites are not easy to find by the search engines due to the lack of hyperlinks. Another cause may consist in the conservative attitude of the professionals in the field of cultural heritage
Veel nieuws – weinig geschiedenis: Een historisch-historiografisch essay over internationaal televisienieuws
No full textDit artikel beoogt geschiedschrijving en historiografie te combineren. In de afzonderlijke, nationaal georiënteerde, paragrafen worden de belangrijkste ontwikkelingen van de televisiejournaals (en in mindere mate nieuwsprogramma’s) geschetsten tegelijkertijd komt hierin de belangrijkste literatuur over de geschiedenis vande televisiejournaals aan de orde, beide geanalyseerd vanuit een vergelijkend internationaal perspectief. Voor een vergelijkend perspectief is gekozen omdat de ontwikkeling van ‘het’ televisiejournaal enerzijds een proces is waarin internationaal vergelijkbare beeldformats, journalistieke stijlen en technologieën circuleren en anderzijds gaat het om een proces waarin de afzonderlijke journaals een nationaal karakter hebben gekregen
16mm Film Editing for Television: Using Filmed Simulation as a Hands-on Approach to TV History
No full textTwo television editors who once worked with 16mm film discuss and explore their former working methods and demonstrate how to make a picture cut using film. The method of ‘hands-on history’ used for this simulation is discussed, as are the problems of presenting such data
Histoire Parallèle/Die Woche vor 50 Jahren (La SEPT/ARTE 1989-2001): Newsreels as an ‘Agent and Source of History’
No full textThis article gives an overview of Histoire Parallèle/Die Woche vor 50 Jahren, a history programme that stands out through its longevity and format. Discussions in this article are based on archive material and statistical data from Institut National de l’Audiovisuel, Arte and Deutsches Rundfunk Archiv, an interview with Marc Ferro, the presenter of the show, as well as press material from the time
Preservation Metadata Dictionary
Get PDFIn the Preservation Metadata Dictionary V 1.2 (PMD) the Netherlands Institute for Sound and Vision has summarized the definitions of preservation metadata, a combination of a variety of existing standards, to best serve the needs of the institute as an audiovisual archive. By publishing the current version of the PMD, Sound and Vision hopes to contribute to the discussion and development of best practices with regards to the application of preservation metadata standards
Tom Swift’s Three Inventions of Television: Media History and the Technological Imaginary
No full textThe article discusses three fictional narratives of inventions of televisual devices, which appeared in a popular American boys’ books series about a young inventor-adventurer in 1914, 1928 and 1933. It considers these narratives as representations of the ‘technological imaginary’ of television – that is, the ideas about the possibilities of the technology that were entertained before its material realization and informed its eventual formation. A comparison between the three different manners in which the novels depict the fictional inventions demonstrates how the early imaginaries of television were conceived and articulated in response to the continuously changing intermedial context of the early twentieth century
The Television Archive on BBC Four: From Preservation to Production
No full textReusing audiovisual archive material is a growing trend on television and has many purposes, ranging for commercial to more ‘purely’ social and cultural ones. Focusing on the uses of the television archive on BBC Four, the BBC’s ‘custodian of archive’ and digital channel for arts, culture and ideas, this article examines a selection of archive rich programmes shown on the channel, in order to explore the ways in which the television archive is becoming indispensible in programme making. Based on interviews with BBC Four programme makers, the article further posits that memory, nostalgia, aesthetic and moral judgement and, crucially, self-reflexivity are at play in archive-based programme making, and propose three distinct production approaches – interpretative, interventional and imaginative – all of which contribute differently to the television archive’s being seen as a ‘creative tool’