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Open Culture Data position paper
Get PDFOpen Culture Data started as a grassroots movement at the end of 2011, with the aim to open up
data in the cultural sector and stimulate (creative) reuse. In this context, we organised a hackathon,
which resulted in the creation of 13 Open Culture Data apps. After this successful first half year, a
solid network of cultural heritage professionals, copyright and open data experts and developers was
formed. In April 2012, an Open Culture Data masterclass started in which 17 institutions get practical,
technical and legal advice on how to open their data for re-use. Furthermore, we organised an app
competition and three hackathons, in which developers were stimulated to re-use Open Cultural
Datasets in new and innovative ways. These activities resulted in 27 more apps and 34 open datasets.
In this paper we share lessons-learned, that will inform heritage institutions with real-life quantitative
and qualitative experiences, best practices and guidelines of their peers with opening up data and the
ways in which this data is reused. Since the open culture data field is still relatively young, this is
highly relevant information needed to stimulate other to join the open data movement. To this end, we
are already taking steps to cross the borders and let Europe know about the initiative, on both a
practical and a policy level
The Production of Czechoslovakia´s Most Popular Television Serial The Hospital On The Outskirts and its Post-1989 Repeats
No full textDuring the 1970s and 1980s - the so-called normalisation era in Czechoslovakia - serials were the main staple of Czechoslovak Television (ČST) ‘s schedule. TV serials of the normalisation era had high viewer ratings, and are still present in the memories of the viewers of the time. TV serials are part of the audiences’ personal history. Based on archival research, this article tries to interpret the success of the serial Hospital on the Outskirts, and of its post-1989 repeats. The original version achieved success with a large audience in Czechoslovakia as well as other countries. In 1981, the West German television broadcaster Norddeutscher Rundfunk even co-produced the filming of another seven episodes. After the change of regime in 1989, the serial first made a comeback in the form of repeats. At the beginning of the 21st century, Czech Television (ČT) produced a sequel named Hospital on the Outskirts After Twenty Years. The sequel was introduced in 2003 and its release was accompanied by great anticipation of the audience as well as critics. Czech Television shot more episodes in 2008: Hospital on the Outskirts - New Life Stories
"It's Just So Hard to Bring It to Mind": The Significance of ‘Wallpaper’ in the Gendering of Television Memory Work
No full textMemory is theorised as constructive and unreliable, while television has been characterised as forgettable and guilty of undermining memory. In a recent series of oral history interviews I asked British women of different generations to tell me their memories of television in the period 1947 to 1989. This article presents some of their memories to demonstrate how, far from undermining memory, television is used a type of memory text for particular life stages
Rational Wizards: Audience Interpreters in French Television
No full textThis paper will tell the story of the small group of people who, in France, have been in charge of the measurement and the appreciation of television audiences, and had to invent audience research. They had to organize it and to communicate its results to ‘clients’ who depended on it much earlier than usually assumed. These ‘clients’ were: television managers and professionals, public authorities, and, last but not least, advertisers. The paper will explore how the professional origin and training of measurers has changed over the years: from having an almost literary background to having a formation in sociology and semiology. It gives insights into how the roles of measurers changed from assessing viewers’ satisfactions, preferences and viewing habits from 1949 until the mid-60s, to producing audience figures from the mid-60s to the mid 70s and more and more to providing daily, detailed, and quickly produced figures of the audience through audiometers by the mid-80s and afterwards. Despite these changes, the need for effective mediations existed all along.Those mediators - the figures and reports - played several roles. Particularly - and this is true today - they provided channel managers with a source of ‘para-democratic legitimacy.’ For the ‘profession’ of measurers, this means that they have always played an important role, as spokespersons of the audience, equipped with an almost magical kind of knowledge: they had the power to ‘read’ the will and whims of a mysterious, anonymous mass of viewers
Whatever Happened to Vera?
No full textThe road to technological progress is littered with unsuccessful prototypes and their inventors. In British television there is perhaps no better example than John Logie Baird, universally recognised as the successful inventor of the technology, but not of the successful business model. Another, lesser known, casualty is the Vision Electronic Recording Apparatus (VERA), developed within the BBC Design Unit between 1952 and 1958. VERA had the potential to change the production and working practices of British television, in ways yet to be imagined or apparent, but just as it reached completion it was superceded by an American import.This article, based entirely on secondary sources, seeks to illuminate and narrativise some of the threads in the hidden, or certainly largely unexplored, history of video in British television, to identify a pathway for further development of this research, notably at the BBC Written Archive at Caversham.The start date of 1955 recognises the ending of the BBC’s television monopoly and the changes and shifts that the BBC had to adjust to as broadcasting became a duopolistic and unionised industry. The end date reflects a point where the quality of ‘non-broadcast’ video technology reached the standard that had previously been set as the broadcast minimum by the broadcasting unions
Vaderland en vrede 1672-1713. Publiciteit over de Nederlandse Republiek in oorlog
No full textReview of the book by Donald Haks, Vaderland en vrede 1672-1713. Publiciteit over de Nederlandse Republiek in oorlog (2013
‘Tot het hart des volks’: Oranje in speelfilm en televisiedrama
No full textWie op zoek gaat naar Oranje in Nederlands televisiedrama en de Nederlandsespeelfilm, komt tot een onthutsende constatering: het Oranjehuis is nauwelijkseen inspiratiebron gebleken voor de verbeelding op televisie of filmdoek. Hoekomt dat? En welk beeld is het dat in dat handjevol koninklijk drama vooralnaar voren komt? Op deze vragen zal in dit artikel geen afdoende antwoord volgen.Het gebrek aan materiaal rechtvaardigt niet meer dan een los weefsel vanoverwegingen en gedachten naar aanleiding van enkele producties en de daarbijervaren leemtes.---'To the heart of the people'. Orange in feature films and television drama.Those in search of Orange in Dutch television drama and Dutch feature films will come to a disconcerting conclusion: the house of Orange is hardly a source of inspriration to the imagination for television or screen. Why is that the case? And what is the main image that appears in that smattering of royal drama? In her article, De Leeuw falls short of an adequate answer to these questions. The lack of source material justifies no more than a loose web of thoughts and ideas gleaned from a number of productions and the gaps experienced through them
Oranje en het journaille: De historische relatie tussen monarch en journalist
No full textVan koude oorlog naar koele vrede. De relatie tussen de Nederlandse vorsten en vorstinnen en de pers is zelden een innige geweest. Na een periode waarin Willem I en Willem II journalisten volop gebruikten, brak er midden negentiende eeuw met Willem III een vijandiger periode aan. Pas met de komst van Bernhard kwam daar, al dan niet door Oranje gewild, een voorzichtig einde aan. Maar zelfs de jongste troonopvolger benadrukte in ippj nog dat ook hij terughoudendheid zal gaan betrachten. J. G. Kikkert schetst hoe Nederlandse monarchen en journalisten elkaar gedurende de laatste twee eeuwen hebben bejegend.---Orange and joumalism. The historie relationship between monarchand journalist.From Cold War to cool peace. The Dutch kings and queens and the press have rarely been on intimate terms. After a period in which William I and William II used journalists in abundance, a more hostile period ensued in the mid-nineteeth century with William III. A cautious end to this came with Bernhard's arrival, whether or not this was Orange's wish. But even the youngest successor to the throne still emphasised in 1997 that he too would exercise restraint. J.G. Kikkert sketches how Dutch monarchs and journalists have approached one another during the past two centuries
Looking for What You are Looking for: A Media Researcher’s First Search in a Television Archive
No full textIn this essay, the author reflects on her first search with the online search system of the Netherlands Institute for Sound and Vision. This was part of a pilot study on how media researchers use the audiovisual archive. Her search was being logged, video taped and sound recorded, she had to ‘think aloud’, and all of this in the presence of a fellow researcher from computer sciences who observed her search behaviour. By showing how she found some relevant programmes among more than 1.2 million items, this article illustrates how archival finding by media researchers can be understood as archival looking or ‘exploratory search’
Het knikje van de koningin: Amateurfilms en de monarchie
No full textNaast professionele filmploegen zijn ook amateurs altijd druk doende geweest leden van het Koninklijk Huis op film vast te leggen. Het veertigjarig regeringsjubileum van Wilhelmina was zo 'n gebeurtenis die is vastgelegd op celluloid, dat ligt verscholen in regionale filmarchieven, particuliere collecties en in de kluizen van het Smalfilmmuseum en het Nederlands Filmmuseum. Deze vaak onbekende en soms zelfs anonieme films maken geen deel uit van het bekende archiefmateriaal dat eindeloos gerecycled wordt. In die zin behoren ze tot de nog verborgen geschiedenis van de film. Wat voegen ze toe aan de bekende beelden over het Nederlandse koningshuis.---The nod of the queen. Amateurfilms and the monarchy.In addition to professional film crews, amateurs have always been at work capturing members of the Royal Family on film. The Jubilee of the forty-year reign of Queen Wilhelmina was one such event that is captured on celluloid, hidden in regional film archives, private collections and in the vaults of the Small Film Museum and the Netherlands Film Museum. These often unknown and sometimes even anonymous films are not part of the well-known archival material that is endlessly recycled. In that sense they belong to the still secret history of film. What do the have to add to the well-known images of the Dutch royal family