Looking back on the very first year of television in Sweden, the head of programming Henrik Hahr celebrated having brought the world into “the living room of the viewer”. From the emergence of Swedish public service television in 1956 and onwards, the medium would be lauded as a window to the world. Yet, what noises came through this window? Shifting focus away from the visual content of television, this article explores and emphasizes the sonic dimensions of early Swedish news broadcasting. In the middle of the 20th century, the look, and the sound of the news were taking shape across television stations around the world. In Sweden, public service broadcasting was partly influenced by the backdrop of the cold war, and demands were formulated on a style of television that would be distinctive from the American and Soviet alternatives. This was a matter of images and audio in equal proportions. Deciding what kind of sound was added to the previously mute newsreels was at the heart of televised journalism. With a media monopoly running two competing news shows, the Swedish case offers insight into the establishment and differentiation of public service television aesthetics in the post-war era. Prior research has investigated the institutions, infrastructures, and ideas which shaped early Swedish television, but the very signals remain unexplored. This article introduces new methods for studying aural aesthetics in audiovisual media. By conducting various types of spectral visualization on recorded television news from 1958 until 1978, this analysis traces the sonic profile of the Swedish public service. The aim is to provide historical knowledge of how the news sounded and which aural experiences were promoted within the realm of the welfare state media monopoly. However, by drawing attention to the prospect of audio signal processing as a method for cultural-historical research, the purpose is also to make a methodological contribution to television studies at large.
{"title":"The Noise of the News: Spectral Analysis of Early Swedish Television News 1958 - 1978.","authors":"Johan Malmstedt","doi":"10.18146/view.291","DOIUrl":"https://doi.org/10.18146/view.291","url":null,"abstract":"Looking back on the very first year of television in Sweden, the head of programming Henrik Hahr celebrated having brought the world into “the living room of the viewer”. From the emergence of Swedish public service television in 1956 and onwards, the medium would be lauded as a window to the world. Yet, what noises came through this window? Shifting focus away from the visual content of television, this article explores and emphasizes the sonic dimensions of early Swedish news broadcasting. In the middle of the 20th century, the look, and the sound of the news were taking shape across television stations around the world. In Sweden, public service broadcasting was partly influenced by the backdrop of the cold war, and demands were formulated on a style of television that would be distinctive from the American and Soviet alternatives. This was a matter of images and audio in equal proportions. Deciding what kind of sound was added to the previously mute newsreels was at the heart of televised journalism. With a media monopoly running two competing news shows, the Swedish case offers insight into the establishment and differentiation of public service television aesthetics in the post-war era. Prior research has investigated the institutions, infrastructures, and ideas which shaped early Swedish television, but the very signals remain unexplored. This article introduces new methods for studying aural aesthetics in audiovisual media. By conducting various types of spectral visualization on recorded television news from 1958 until 1978, this analysis traces the sonic profile of the Swedish public service. The aim is to provide historical knowledge of how the news sounded and which aural experiences were promoted within the realm of the welfare state media monopoly. However, by drawing attention to the prospect of audio signal processing as a method for cultural-historical research, the purpose is also to make a methodological contribution to television studies at large.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129720679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The abrupt closing of the web hosting service GeoCities – one of the most popular websites inhabited by users in the 90s – is a well-known example of the importance of web archiving for saving digital cultural heritage. GeoCities’ shutdown is a warning for today’s social media user-generated content that might suffer the same fate. Various web archiving organisations archived and nowadays present GeoCities pages. Olia Lialina and Dragan Espenschied engage with GeoCities’ legacy in their project One Terabyte of Kilobyte Age (2010–ongoing). This paper expands on the archival strategies of the artists and places their practice in the context of web archiving organisations – specifically Archive Team, the Internet Archive, and Restorativland – to understand how an artistic position may open up other ways of engaging with digital cultural heritage. This paper considers the archival practices of the organisations, artists, and users as a network of care, enabling different forms of remembrance. Whereas the archiving organisations preserve and present GeoCities statically, Lialina and Espenschied take a performative archival approach, in which they re-perform the dataset with old and new users. Through circulation and narration, One Terabyte of Kilobyte Age builds on the memories of the artists and users and aims to give the GeoCities heritage back to users. The project invites users to interpret and make meaning of GeoCities and embraces the fluidity of digital cultur e, whilst embodying the future archival insecurity of commercial platforms.
网站托管服务GeoCities(90年代最受用户欢迎的网站之一)的突然关闭，是一个众所周知的例子，说明了网络存档对保存数字文化遗产的重要性。GeoCities的关闭是对今天的社交媒体用户生成内容的一个警告，它们可能会遭受同样的命运。各种网络存档组织存档和现在呈现GeoCities页面。Olia Lialina和Dragan Espenschied在他们的项目One Terabyte of Kilobyte Age(2010年至今)中利用了GeoCities的遗产。本文扩展了艺术家的存档策略，并将他们的实践置于网络存档组织的背景下-特别是存档团队，互联网存档和Restorativland -以了解艺术立场如何开辟与数字文化遗产互动的其他方式。本文将组织、艺术家和用户的档案实践视为一个关怀网络，实现不同形式的纪念。归档组织静态地保存和呈现GeoCities，而Lialina和espensched则采用了一种执行归档方法，即与新老用户一起重新执行数据集。通过循环和叙述，One Terabyte of Kilobyte Age以艺术家和用户的记忆为基础，旨在将GeoCities的遗产归还给用户。该项目邀请用户解读和创造GeoCities的意义，拥抱数字文化的流动性，同时体现商业平台未来的档案不安全感。
{"title":"Performatively Archiving the Early Web: One Terabyte of Kilobyte Age","authors":"Marijn Josephien Bril","doi":"10.18146/view.293","DOIUrl":"https://doi.org/10.18146/view.293","url":null,"abstract":"The abrupt closing of the web hosting service GeoCities – one of the most popular websites inhabited by users in the 90s – is a well-known example of the importance of web archiving for saving digital cultural heritage. GeoCities’ shutdown is a warning for today’s social media user-generated content that might suffer the same fate. Various web archiving organisations archived and nowadays present GeoCities pages. Olia Lialina and Dragan Espenschied engage with GeoCities’ legacy in their project One Terabyte of Kilobyte Age (2010–ongoing). This paper expands on the archival strategies of the artists and places their practice in the context of web archiving organisations – specifically Archive Team, the Internet Archive, and Restorativland – to understand how an artistic position may open up other ways of engaging with digital cultural heritage. This paper considers the archival practices of the organisations, artists, and users as a network of care, enabling different forms of remembrance. Whereas the archiving organisations preserve and present GeoCities statically, Lialina and Espenschied take a performative archival approach, in which they re-perform the dataset with old and new users. Through circulation and narration, One Terabyte of Kilobyte Age builds on the memories of the artists and users and aims to give the GeoCities heritage back to users. The project invites users to interpret and make meaning of GeoCities and embraces the fluidity of digital cultur e, whilst embodying the future archival insecurity of commercial platforms.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131439866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shane M O'Sullivan, Ciara Nicole Chambers, Colm McAuliffe
This case study traces the evolution of the Make Film History project, an award-winning archival resource which gives emerging filmmakers and educators in the UK and Ireland access to 270 films for creative reuse on course-related projects. It explores the barriers to the creative reuse of audiovisual archive material in education; and how the project overcame these with the support of our project partners at the participating archives to create a new, sustainable model for creative reuse in a range of educational settings and in partnership with film festivals.
{"title":"Make Film History: Opening Up the Archives to Emerging Filmmakers","authors":"Shane M O'Sullivan, Ciara Nicole Chambers, Colm McAuliffe","doi":"10.18146/view.295","DOIUrl":"https://doi.org/10.18146/view.295","url":null,"abstract":"This case study traces the evolution of the Make Film History project, an award-winning archival resource which gives emerging filmmakers and educators in the UK and Ireland access to 270 films for creative reuse on course-related projects. It explores the barriers to the creative reuse of audiovisual archive material in education; and how the project overcame these with the support of our project partners at the participating archives to create a new, sustainable model for creative reuse in a range of educational settings and in partnership with film festivals.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125363278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Shiming Shen, Matteo Treleani, Dario Compagno, Marco Winckler
This paper deals with a major challenge linked to the collection of audiovisual documents within television and web archives. Looking for repeated sequences within a corpus of thousands of videos, we faced the fact that the footage we were looking for reveals itself to be reachable only as ghost data. In fact, any audiovisual sequence reused within different contexts exists conceptually as the repetition of one single visual unit, but from the point of view of the metadata tagging its occurrences, each item is a distinct document. Like a ghost, the shot is there, scattered among different places, but the metadata cannot point us to the visual form repeated, despite its evidence to the human viewer. When facing large amounts of data, to relate a visual unit to its occurrences, data analysis techniques are needed. We describe our procedures of collection and annotation, and the solutions combining qualitive work and a computer-aided approach to face this main challenge, within the research project Crossing Borders Archives (CROBORA).
{"title":"From Stock Shots to Ghost Data: Tracking Audiovisual Archives about the European Union","authors":"Shiming Shen, Matteo Treleani, Dario Compagno, Marco Winckler","doi":"10.18146/view.292","DOIUrl":"https://doi.org/10.18146/view.292","url":null,"abstract":"This paper deals with a major challenge linked to the collection of audiovisual documents within television and web archives. Looking for repeated sequences within a corpus of thousands of videos, we faced the fact that the footage we were looking for reveals itself to be reachable only as ghost data. In fact, any audiovisual sequence reused within different contexts exists conceptually as the repetition of one single visual unit, but from the point of view of the metadata tagging its occurrences, each item is a distinct document. Like a ghost, the shot is there, scattered among different places, but the metadata cannot point us to the visual form repeated, despite its evidence to the human viewer. When facing large amounts of data, to relate a visual unit to its occurrences, data analysis techniques are needed. We describe our procedures of collection and annotation, and the solutions combining qualitive work and a computer-aided approach to face this main challenge, within the research project Crossing Borders Archives (CROBORA).","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123057612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anne-Katrin Weber, Simone Comte, François Vallotton
Conjointly conceived by an archivist at the Radio Télévision Suisse (RTS, the French speaking PSB) and two media historians, this paper aims at discussing the diversity of uses of digitised AV heritage in Switzerland through the lenses of their professional experience. It focuses on the RTS as a particularly productive case study since the RTS has not only been a pioneer in digitising AV heritage and in promoting its holdings to the broader audience, but it also actively develops new tools for internal use, in particular speech to text technologies and more recently AI-based automation for image treatment and analysis, and datamining tools. Through a discussion of current projects at the RTS, the paper provides insights into the most recent uses and reuses of digitised AV heritage in Switzerland.
{"title":"Audiovisual Heritage and its Uses at the Swiss Public Broadcaster: A Dialogue on Opportunities and Constraints for Archives and Academics","authors":"Anne-Katrin Weber, Simone Comte, François Vallotton","doi":"10.18146/view.297","DOIUrl":"https://doi.org/10.18146/view.297","url":null,"abstract":"Conjointly conceived by an archivist at the Radio Télévision Suisse (RTS, the French speaking PSB) and two media historians, this paper aims at discussing the diversity of uses of digitised AV heritage in Switzerland through the lenses of their professional experience. It focuses on the RTS as a particularly productive case study since the RTS has not only been a pioneer in digitising AV heritage and in promoting its holdings to the broader audience, but it also actively develops new tools for internal use, in particular speech to text technologies and more recently AI-based automation for image treatment and analysis, and datamining tools. Through a discussion of current projects at the RTS, the paper provides insights into the most recent uses and reuses of digitised AV heritage in Switzerland.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122837223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Communist History Reloaded: From Digital Utopia to Lost Historical Consciousness","authors":"Adéla Gjuričová","doi":"10.18146/view.318","DOIUrl":"https://doi.org/10.18146/view.318","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125489172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lords of the Air: A Cultural Analysis of the Bulgarian TV Show Gosporadi na Efira","authors":"Maria Stover, Elza Ibroscheva","doi":"10.18146/view.289","DOIUrl":"https://doi.org/10.18146/view.289","url":null,"abstract":"","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115397823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Satire in Putin's Russia: Cynical Distance as a Tool of State Power","authors":"Jeffrey Brassard","doi":"10.18146/view.287","DOIUrl":"https://doi.org/10.18146/view.287","url":null,"abstract":"","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"8 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133745159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poking Fun at the Transformation: Postsocialist TV Satire in the 1990s","authors":"V. Pehe","doi":"10.18146/view.264","DOIUrl":"https://doi.org/10.18146/view.264","url":null,"abstract":"","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"132 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128520951","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Memes, Satire, and the Legacy of TV Socialism","authors":"Teresa Pian","doi":"10.18146/view.285","DOIUrl":"https://doi.org/10.18146/view.285","url":null,"abstract":"","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130220353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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