Television will archive itself: Channel 4’s role in revalorising ‘old’ TV

IF 0.9 2区 艺术学 0 FILM, RADIO, TELEVISION Critical Studies in Television Pub Date : 2023-10-26 DOI:10.1177/17496020231208049
Richard Hewett
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Abstract

A notable feature of Channel 4’s scheduling in the 1980s was the extent to which it drew upon repeats of archive television, long-unseen US and UK sitcoms and cult dramas either providing a nostalgic reminder of yesteryear or being discovered afresh by new generations. In addition, the themed archive evenings that began at Christmas 1982, culminating in 1992's extensive TV Heaven season, now seem prescient in an era when digital channels such as GOLD, Yesterday, Dave and Talking Pictures TV draw extensively upon the archive to compile their schedules. Channel 4’s use of archive programming receives little attention in academic histories, aside of Maggie Brown’s dismissal of its repeats as ‘tellyfilla’. This article redresses the balance, drawing upon publicity material from Channel 4’s press packs, research into patterns of repeats and original interviews with those involved in the curatorial process to investigate the extent to which Channel 4’s decision to revisit the archives was born of economic pragmatism, or was in fact a conscious act of contextualisation, re-evaluation and revalorisation.
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电视将自我存档:第四频道在重振“旧”电视方面的作用
在上世纪80年代,英国第四频道的节目安排有一个显著的特点,那就是它在很大程度上重复播放历史悠久的电视节目、久违的美国和英国情景喜剧和邪典剧,这些节目要么让人想起过去的怀旧时光,要么被新一代人重新发现。此外,从1982年圣诞节开始的主题档案之夜,在1992年广泛的电视天堂季达到高潮,在一个数字频道(如GOLD, Yesterday, Dave和Talking Pictures TV)广泛利用档案来编制他们的时间表的时代,现在看来是有先见之明的。除了麦琪·布朗(Maggie Brown)把频道4的重复节目斥为“tellyfilia”之外,它对档案节目的使用在学术历史上很少受到关注。本文利用第四频道的宣传材料、对重复模式的研究以及对参与策展过程的人员的原始采访,来研究第四频道重新审视档案的决定在多大程度上是出于经济实用主义,还是实际上是一种有意识的语境化、重新评估和重新估价的行为,从而解决了这一平衡。
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来源期刊
Critical Studies in Television
Critical Studies in Television FILM, RADIO, TELEVISION-
CiteScore
2.10
自引率
30.00%
发文量
70
期刊介绍: Critical Studies in Television publishes articles that draw together divergent disciplines and different ways of thinking, to promote and advance television as a distinct academic discipline. It welcomes contributions on any aspect of television—production studies and institutional histories, audience and reception studies, theoretical approaches, conceptual paradigms and pedagogical questions. It continues to invite analyses of the compositional principles and aesthetics of texts, as well as contextual matters relating to both contemporary and past productions. CST also features book reviews, dossiers and debates. The journal is scholarly but accessible, dedicated to generating new knowledge and fostering a dynamic intellectual platform for television studies.
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