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Liefde in tijden van oorlog. Onze jongens en hun verzwegen kinderen in de Oost
No full textReview van: Annegriet Wietsma & Stef Scagliola Liefde in tijden van oorlog. Onze jongens en hun verzwegen kinderen in de Oost Amsterdam (Boom) 2013, ISBN 978 94 6155 20
Nieuwsprenten in de Europische Mercurius van 1730-1733
No full textIn de achttiende eeuw was de Europische Mercurius één van de bekendste nieuwsboeken op de Nederlandse markt. Dit nieuwsboek verscheen in de periode 1690-1756, vanaf 1693 tweemaal per jaar. Doel van dit artikel is aan de hand van enkele voorbeelden de discussie te starten over de vraag welke mediahistorische waarde we kunnen toekennen aan het fenoneem titelgravures en hun verklaringen in de vroeg-moderne eeuwen. De voorbeelden zijn de vier titelprenten en hun bijbehorende verklaringen in de Europische Mercurius van 1730 tot en met 1733. Om een goed beeld te krijgen van de inhoud worden deze prenten en gedichten niet alleen uitgelegd, maar voor zover relevant ook gekoppeld aan de berichtgeving in dezelfde mercuur over de onderwerpen die op de prenten voorkomen
De geschiedenis van ‘De toekomst van de Mediageschiedenis’
No full textIntroduction to the 'Dossier' in Tijdschrift voor mediageschiedenis 2014, nummer 2
De onderwijsfilm als didactisch middel en creatief product:Het maakproces in films van de N.O.F.
No full textThis article considers the introduction of ‘the making of’ documentaries to the collection of the Stichting Nederlandse Onderwijs Film [Trust for Dutch Educational Films] (n.o.f.), the Netherlands’ main supplier of films for classroom use in the post-Second World War period. Shorts about biological, geological or manufacturing processes were distributed to schools early on whereas material about the genesis of films were markedly absent from the collection in its early years. This article first discusses the n.o.f.’s tendency, in the 1940s, to divert the audience’s attention from the films’ status as media, and, by implication, as products of a process of creation. It argues that a shift in attitude later on coincided with a change in the attitude to the role of film as an aid to formal education. Second, it proposes that the institute’s adoption of material about the processes involved in filmmaking introduced a new sort of reflectiveness to the corpus and, more specifically, led to a shift whereby films were no longer simply seen as educational tools but gained the status of products of (collective) acts of creation
The Eichmann Trial on East German Television: On (Not) Reporting About a Transnational Media Event
No full textThis paper discusses the Eichmann trial (1961) as a transnational media event. It describes on the one hand the co-operation of different institutions that facilitated the trial’s filming as well as the worldwide distribution of the footage. On the other hand it draws on East and West German television programs to show how the GDR used the Eichmann trial to campaign against the FRG. Examples from the East German Der schwarze Kanal and the West German Die rote Optik illustrate the reciprocal monitoring and commenting of the other side’s television program. The case of the Eichmann trial points at a significant role of broadcast media during the Cold War. Television advocated the respective political system with particular programs denigrating the other side which sometimes resulted in strong reactions
Newspaper Video Content: Genres and Editorial Formats in Spain
No full textNewspaper websites and online only news operations deliver an increasingly varied and comprehensive offer of original audiovisual content. Videos on Spanish websites cover current affairs and niche interests, complementing the reports supplied by news agencies. The spoken word is a primary mode of expression, in the form of dialogues (interviews and debates) and speeches (comments and analyses), but more complex and visually appealing formats have been developed. Publishers face the challenge of organising these packages and programmes to facilitate access and retrieval. This may help to improve user experience, and to maximise long-term consumption and value
Multiscreening and Social TV: The Changing Landscape of TV Consumption in Italy
No full textThe explosive growth of handheld screen devices has fostered the emergence of new TV consumption practices: "always connected while watching TV" is the expression that best summarizes this transformation. On the one hand, we observe multiscreening practices engendered by the availability of second screen devices, which people use both simultaneously and sequentially while watching. On the other hand, these handheld devices are strengthening the social dimension of the TV-watching experience (Social TV).This paper aims to analyze the diffusion of social and connected television in the Italian market, relying on data from the “Osservatorio Social TV 2013-2014” (Sapienza University, Rome)
Public Service Television in a Multi-Platform Environment: A Comparative Study in Finland and Israel
No full textCultural and economic transformations have encouraged television companies to turn their attention to multi-platform practices so as to increase their compatibility with the changing media environment. While digital media provide public service broadcasting (PSB) institutions with new opportunities for meeting their public commitments and maintaining their relevance in national media systems, PSB is also faced with additional challenges. One of these is the tension between public service values on the one hand and digital technologies and practices on the other. In this article we discuss how Finnish and Israeli PSB managers and producers perceive the opportunities and challenges of multi-platform production. In both countries public service broadcasting is striving for public legitimacy and relevance in a changing technological environment. However, the two countries currently find themselves at quite different stages: Israel has a struggling public service agency, while Finland boasts a strong broadcasting company
‘More Than a Television Channel’: Channel 4, FilmFour and a Failed Convergence Strategy
No full textObliged by act of Parliament to “innovate and experiment,” Channel 4 has, since its birth in 1982, been the UK’s most pioneering commercial television broadcaster. Its arrival broadened the meaning, function and operations of public service broadcasting in the UK, with a particular focus on minorities and pushing boundaries, political and creative. In the late 1990s, though, it was under increasing threat from specialist pay-TV services that could more accurately target its audiences. As a commercially funded channel with public service responsibilities, Channel 4 was under increasing pressure to be financially independent and fulfil a challenging remit. Its response to a threatened income and increasing competition was to diversify its portfolio into various media related businesses, particularly taking advantage of the arrival of digital television to expand its offer. The subtitle of the Corporation’s 2000 Annual report, ‘More than a Television Channel’ indicates the confidence, optimism and boldness with which this expansion was approached.The rapid expansion of the channel’s portfolio in a time of relative confidence in the commercial viability of the television industry was to be reversed only a few years later, when, after it failed to produce the returns it was designed for, 4Ventures was drastically scaled back, and Channel 4 refocused its efforts on the core broadcast channel.Channel 4 therefore offers a test case in the limits of convergence as a strategy for survival for British broadcasters at the arrival of digital television. This paper focuses specifically on the areas of Channel 4’s strategy that pertained to one of the broadcaster’s particular strengths: film culture. It explores one of the film offshoots of 4Ventures: FilmFour Ltd, the film finance, production, sales and distribution company and how its failure to find a commercial hit mirrors the general problems for a commercial public service broadcaster in expanding to become a convergent television company
Don’t Apologize for Your Commercial. The Discourse on the Content of Television Advertising During the Early Years in Britain and the Netherlands
Get PDFThe central enquiry of this monograph will be how advertising practitioners in Britain and the Netherlands viewed television advertising - and especially its content - in the years before and after its launch: from the early 1950s to the mid-1960s in Britain and from the early 1960s to the early 1970s in the Netherlands. The coming of the new medium offered advertisers new opportunities to reach their public, but it also forced them to find a new rhetoric. How did the views of practitioners regarding television advertising content develop in the first ten to fifteen years after its launch? Did they change, and if so, how can these changes be explained? By studying its early historical development, this monograph seeks to add to our understanding of the phenomenon of TV advertising in general. The discourse among advertising practitioners on the content of television advertising forms its heart.
This publication is the result of the HERA research project Technology Exchange and Flow (TEF)