Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc164
Janne P. Ikäheimo, T. Äikäs
Rauta-aika (The Age of Iron, 1982), a four episode TV-series produced by YLE – the Finnish Broadcasting Company, transported the audience into a world of fantasy by successfully mixing the Finnish national epic Kalevala with elements of the local Iron Age. This paper focuses on the dismantled film set of the Pohjola village at the Seinävuori Hill in Hämeenkyrö, documented using archaeological methods in 2012, from the perspective of material heritage. While the remains visible today at the Seinävuori Hill are scarce, they continue to give a context for various meanings and experiences assigned to this place in the recent and more distant past and hence impact the heritagisation of the place.
{"title":"The Site of a Film Set as Material Heritage","authors":"Janne P. Ikäheimo, T. Äikäs","doi":"10.18146/2213-0969.2019.jethc164","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc164","url":null,"abstract":"Rauta-aika (The Age of Iron, 1982), a four episode TV-series produced by YLE – the Finnish Broadcasting Company, transported the audience into a world of fantasy by successfully mixing the Finnish national epic Kalevala with elements of the local Iron Age. This paper focuses on the dismantled film set of the Pohjola village at the Seinävuori Hill in Hämeenkyrö, documented using archaeological methods in 2012, from the perspective of material heritage. While the remains visible today at the Seinävuori Hill are scarce, they continue to give a context for various meanings and experiences assigned to this place in the recent and more distant past and hence impact the heritagisation of the place.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131927475","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc169
Sergio Minniti, Joshua Salazar, J. Vega
The article addresses the issue of the digital divide in Ecuador and illustrates how artefacts from television material heritage might be transformed into digital libraries to provide marginalized communities with access to digital information. It describes an ongoing socio-technical project which aims at providing Ecuadorian rural communities with access to digital information through the re-functioning of analogue TV sets and other complementary technologies that will become obsolete due to Ecuador’s switch from an analogue to digital broadcasting signal. On one hand, the project is discussed with reference to the contemporary debate in the fields of Media and Television Studies on the obsolescence and renewal of technology; And on the other, it is discussed on the background of earlier projects focusing on the design of digital libraries to circulate information and improve digital literacy in rural contexts. Finally, the prototype created is discussed from a technical and conceptual point of view.
{"title":"Implementing Low Cost Digital Libraries for Rural Communities by Re-functioning Obsolescent Television Sets","authors":"Sergio Minniti, Joshua Salazar, J. Vega","doi":"10.18146/2213-0969.2019.jethc169","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc169","url":null,"abstract":"The article addresses the issue of the digital divide in Ecuador and illustrates how artefacts from television material heritage might be transformed into digital libraries to provide marginalized communities with access to digital information. It describes an ongoing socio-technical project which aims at providing Ecuadorian rural communities with access to digital information through the re-functioning of analogue TV sets and other complementary technologies that will become obsolete due to Ecuador’s switch from an analogue to digital broadcasting signal. On one hand, the project is discussed with reference to the contemporary debate in the fields of Media and Television Studies on the obsolescence and renewal of technology; And on the other, it is discussed on the background of earlier projects focusing on the design of digital libraries to circulate information and improve digital literacy in rural contexts. Finally, the prototype created is discussed from a technical and conceptual point of view.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121208465","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc163
P. Marshall
How does traditional analogue television work? That’s a question beyond the comfort zone of most media historians who may not be familiar with analogue electronics. Even young engineers know little of thermionics, cathode rays and a myriad of other forgotten technologies. This important facet of television’s history is now only recorded by older engineers and by amateur groups who collect these technologies. In this paper, I will show by using examples how material artefacts can help us understand television’s history more fully.
{"title":"Making Old Television Technology Make Sense","authors":"P. Marshall","doi":"10.18146/2213-0969.2019.jethc163","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc163","url":null,"abstract":"How does traditional analogue television work? That’s a question beyond the comfort zone of most media historians who may not be familiar with analogue electronics. Even young engineers know little of thermionics, cathode rays and a myriad of other forgotten technologies. This important facet of television’s history is now only recorded by older engineers and by amateur groups who collect these technologies. In this paper, I will show by using examples how material artefacts can help us understand television’s history more fully.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134058215","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc161
T. Heath
The working practices of below the line television operators is an area of television studies that continues to be under-researched. Despite notable recent efforts, this lack of academic engagement is perhaps at its most pronounced in regards to the sub group of television operators who record, mix, and edit the soundtrack of British television. However, hands on methodologies continue to gain traction in the area of film and television research and, in doing so, create new opportunities to engage with below the line practices and bring into focus the hidden work of production personnel. This article, aims to explore these new methodologies and assess how they can bring new affordances to researchers engaging with communities who’s practices are often seen as routine and unremarkable. Focusing specifically on the work of television sound operators this article hopes to add to the growing body of work that sheds light on the practices of sound operators and the skills, codes, and identities that shape their work. By doing so through using hands on methods, it hopes to show the benefits of such approaches to wider television and film research.
{"title":"Television Sound Operators","authors":"T. Heath","doi":"10.18146/2213-0969.2019.jethc161","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc161","url":null,"abstract":"The working practices of below the line television operators is an area of television studies that continues to be under-researched. Despite notable recent efforts, this lack of academic engagement is perhaps at its most pronounced in regards to the sub group of television operators who record, mix, and edit the soundtrack of British television. However, hands on methodologies continue to gain traction in the area of film and television research and, in doing so, create new opportunities to engage with below the line practices and bring into focus the hidden work of production personnel. This article, aims to explore these new methodologies and assess how they can bring new affordances to researchers engaging with communities who’s practices are often seen as routine and unremarkable. Focusing specifically on the work of television sound operators this article hopes to add to the growing body of work that sheds light on the practices of sound operators and the skills, codes, and identities that shape their work. By doing so through using hands on methods, it hopes to show the benefits of such approaches to wider television and film research.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116121616","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc168
A. Holdsworth, R. Moseley, H. Wheatley
‘The Story of Children’s Television, from 1946 to Now’ was an exhibition co-conceived by the authors and colleagues from the Herbert Art Gallery and Museum in Coventry, UK, running from 2015 to 2017 through a national tour. At the exhibition, objects from children’s television history sat alongside screens showing the programmes to visitors. Our research explores how children’s television culture operates as a site of memory and nostalgia, through which we can investigate forms of (inter)generational cultural memory. This paper explores the reconnections and disconnections that emerge in encounters with the material heritage of children’s television in Britain.
{"title":"Memory, Nostalgia and the Material Heritage of Children’s Television in the Museum","authors":"A. Holdsworth, R. Moseley, H. Wheatley","doi":"10.18146/2213-0969.2019.jethc168","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc168","url":null,"abstract":"‘The Story of Children’s Television, from 1946 to Now’ was an exhibition co-conceived by the authors and colleagues from the Herbert Art Gallery and Museum in Coventry, UK, running from 2015 to 2017 through a national tour. At the exhibition, objects from children’s television history sat alongside screens showing the programmes to visitors. Our research explores how children’s television culture operates as a site of memory and nostalgia, through which we can investigate forms of (inter)generational cultural memory. This paper explores the reconnections and disconnections that emerge in encounters with the material heritage of children’s television in Britain.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115804051","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc165
Jennifer Vanderburgh
VCRs were once prized for their ability to allow amateurs to create material records of ephemeral television broadcasts. But what value do amateur video-recordings of television have at their late stage of obsolescence? This article outlines some of the discursive parameters surrounding the perceived use-value of amateur video-recordings of television, drawing on case studies of video collection projects that are divided on the question of whether amateur television video-recordings continue to have merit. It argues that both advocates and detractors of videocassette recordings of television tend to rely on place-based heritage discourses in order to value or vilify them.
{"title":"Grounding TV’s Material Heritage","authors":"Jennifer Vanderburgh","doi":"10.18146/2213-0969.2019.jethc165","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc165","url":null,"abstract":"VCRs were once prized for their ability to allow amateurs to create material records of ephemeral television broadcasts. But what value do amateur video-recordings of television have at their late stage of obsolescence? This article outlines some of the discursive parameters surrounding the perceived use-value of amateur video-recordings of television, drawing on case studies of video collection projects that are divided on the question of whether amateur television video-recordings continue to have merit. It argues that both advocates and detractors of videocassette recordings of television tend to rely on place-based heritage discourses in order to value or vilify them.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"71 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114112096","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc166
D. Chambers
This article explores the shifting materiality and meanings of television as an exhibited object. To consider the fluctuating discourses involved in the display of analogue TV sets, the article critically examines how the object has been re-presented: aestheticized, interrogated, destabilised and reorganized as science, modernity, art, and media heritage. An interpretive approach drawing on Walter Benjamin and media archaeology is supported by archival sources. The term “analogue rupture” is introduced to critically assess the implications of, and discontinuities involved, in analogue television’s status as art and heritage. Digital media heritage discourses that invite us to regard obsolescence as inevitable progress are questioned.
{"title":"The Rise and Fall of the Analogue Television Set","authors":"D. Chambers","doi":"10.18146/2213-0969.2019.jethc166","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc166","url":null,"abstract":"This article explores the shifting materiality and meanings of television as an exhibited object. To consider the fluctuating discourses involved in the display of analogue TV sets, the article critically examines how the object has been re-presented: aestheticized, interrogated, destabilised and reorganized as science, modernity, art, and media heritage. An interpretive approach drawing on Walter Benjamin and media archaeology is supported by archival sources. The term “analogue rupture” is introduced to critically assess the implications of, and discontinuities involved, in analogue television’s status as art and heritage. Digital media heritage discourses that invite us to regard obsolescence as inevitable progress are questioned.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124673598","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}
Pub Date : 2019-10-27DOI: 10.18146/2213-0969.2019.jethc162
D. Ingram
Hyperlocal community television is currently under threat and its content documenting local memories and histories is underused and hardly accessible. Newly generated hyperlocal content runs the risk of not being archived, curated and preserved. Can new technologies that encourage hyperlocal media contribute to its demise? This article discusses the history of hyperlocal community television in Finland, considers its current challenges and draws awareness to the need of securing this local heritage for the future. The article debates how the future fate of this form of hyperlocal television is dependent on material resources, such as manpower, access to storage and preservation infrastructures as well as funding.
{"title":"Culture Under Threat","authors":"D. Ingram","doi":"10.18146/2213-0969.2019.jethc162","DOIUrl":"https://doi.org/10.18146/2213-0969.2019.jethc162","url":null,"abstract":"Hyperlocal community television is currently under threat and its content documenting local memories and histories is underused and hardly accessible. Newly generated hyperlocal content runs the risk of not being archived, curated and preserved. Can new technologies that encourage hyperlocal media contribute to its demise? This article discusses the history of hyperlocal community television in Finland, considers its current challenges and draws awareness to the need of securing this local heritage for the future. The article debates how the future fate of this form of hyperlocal television is dependent on material resources, such as manpower, access to storage and preservation infrastructures as well as funding.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127050512","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}
Pub Date : 2018-12-31DOI: 10.18146/213-0969.2018.jethc154
Susanna Aasman, Liliana Melgar Estrada, T. Slootweg, Rob Wegter
This article explores the affordances and functionalities of the Dutch CLARIAH research infrastructure – and the integrated video annotation tool – for doing media historical research with digitised audiovisual sources from television archives. The growing importance of digital research infrastructures, archives and tools, has enticed media historians to rethink their research practices more and more in terms of methodological transparency, tool criticism and reflection. Moreover, also questions related to the heuristics and hermeneutics of our scholarly work need to be reconsidered. The article hence sketches the role of digital research infrastructures for the humanities (in the Netherlands), and the use of video annotation in media studies and other research domains. By doing so, the authors reflect on their own specific engagements with the CLARIAH infrastructure and its tools, both as media historians and co-developers. This dual position greatly determines the possibilities and constraints for the various modes of digital scholarship relevant to media history. To exemplify this, two short case studies – based on a pilot project ‘Me and Myself. Tracing First Person in Documentary History in AV-Collections’ (M&M) – show how the authors deployed video annotation to segment interpretative units of interest, rather than opting for units of analysis common in statistical analysis. The deliberate choice to abandon formal modes of moving image annotation and analysis ensued from a delicate interplay between the desired interpretative research goals, and the integration of tool criticism and reflection in the research design. The authors found that due to the formal and stylistic complexity of documentaries, also alternative, hermeneutic research strategies ought to be supported by digital infrastructures and its tools.
{"title":"Tales of a Tool Encounter: Exploring Video Annotation for Doing Media History","authors":"Susanna Aasman, Liliana Melgar Estrada, T. Slootweg, Rob Wegter","doi":"10.18146/213-0969.2018.jethc154","DOIUrl":"https://doi.org/10.18146/213-0969.2018.jethc154","url":null,"abstract":"This article explores the affordances and functionalities of the Dutch CLARIAH research infrastructure – and the integrated video annotation tool – for doing media historical research with digitised audiovisual sources from television archives. The growing importance of digital research infrastructures, archives and tools, has enticed media historians to rethink their research practices more and more in terms of methodological transparency, tool criticism and reflection. Moreover, also questions related to the heuristics and hermeneutics of our scholarly work need to be reconsidered. The article hence sketches the role of digital research infrastructures for the humanities (in the Netherlands), and the use of video annotation in media studies and other research domains. By doing so, the authors reflect on their own specific engagements with the CLARIAH infrastructure and its tools, both as media historians and co-developers. This dual position greatly determines the possibilities and constraints for the various modes of digital scholarship relevant to media history. To exemplify this, two short case studies – based on a pilot project ‘Me and Myself. Tracing First Person in Documentary History in AV-Collections’ (M&M) – show how the authors deployed video annotation to segment interpretative units of interest, rather than opting for units of analysis common in statistical analysis. The deliberate choice to abandon formal modes of moving image annotation and analysis ensued from a delicate interplay between the desired interpretative research goals, and the integration of tool criticism and reflection in the research design. The authors found that due to the formal and stylistic complexity of documentaries, also alternative, hermeneutic research strategies ought to be supported by digital infrastructures and its tools.","PeriodicalId":115199,"journal":{"name":"VIEW Journal of European Television History and Culture","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127826729","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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