Between the 1950s and the 1970s, the introduction of ETV into classrooms was supported by ongoing experiments regarding the medium’s affordances and technological design: educators and financing bodies experimented with televisual forms that embraced non-commercial broadcasting, national and regional programming, and even transmissions by planes. Analysing educational television in the USA, this paper focuses on one specific dispositif, namely the televisual closed-circuit (CCTV). While the closed-circuit projects have been widely documented in the postwar period and have received some attention from television and media historians, the analytical focus has remained on educational CCTV. This paper suggests a shift in perspective that embeds the educational closed-circuit within a broader history of televisual CCTV. In addition to serving school reforms, postwar CCTV systems were frequently used in military and industrial settings, where they fostered automation, surveillance, and tele-command. The analysis of educational television through the lens of closed-circuits brings to the fore such military-industrial entanglements and their links with the educational sector, and shines a new light on the history of educational TV overall.
{"title":"Decentring the Broadcasting Dispositif: Educational Closed-Circuits, Military-Industrial Entanglements, and Useful TV","authors":"Anne-Katrin Weber","doi":"10.18146/tmg.835","DOIUrl":"https://doi.org/10.18146/tmg.835","url":null,"abstract":"Between the 1950s and the 1970s, the introduction of ETV into classrooms was supported by ongoing experiments regarding the medium’s affordances and technological design: educators and financing bodies experimented with televisual forms that embraced non-commercial broadcasting, national and regional programming, and even transmissions by planes. Analysing educational television in the USA, this paper focuses on one specific dispositif, namely the televisual closed-circuit (CCTV). While the closed-circuit projects have been widely documented in the postwar period and have received some attention from television and media historians, the analytical focus has remained on educational CCTV. This paper suggests a shift in perspective that embeds the educational closed-circuit within a broader history of televisual CCTV. In addition to serving school reforms, postwar CCTV systems were frequently used in military and industrial settings, where they fostered automation, surveillance, and tele-command. The analysis of educational television through the lens of closed-circuits brings to the fore such military-industrial entanglements and their links with the educational sector, and shines a new light on the history of educational TV overall.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132823213","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 article focuses on two cinematic representations of alpinism and its multimedia performance practice in the popular education programmes of the Vienna Urania in the 1920s and 30s: First on Arnold Fanck’s early mountain film Im Kampf mit dem Berge (DE 1921). I am not concentrating on Fanck’s film version, but on the version produced by the Urania for popular education, which was distributed throughout Austria as Urania-Kulturfilm. I ask how the Urania utilised Im Kampf mit dem Berge as part of a media package (consisting of films, lectures and slides) and which media-pedagogical methods and practices were thereby employed. How did entertainment and instruction relate to each other? The second film I will look at is the ambitious Austrian amateur film Mit Steigeisen und Eispickel (c. 1934) produced and filmed by a group of mountaineers. I investigate how this film relates an established repertoire of images to elements of educational films to introduce the audience to new techniques of ice climbing: What techniques of showing and instructing are discernible and to what extent are the film and its performance practice ‘educational’? To sum it up, I interpret the mountain and alpine film as educational film and investigate the role and qualities attributed to the medium film as a teaching tool for conveying and disseminating contemporary ideas of the mountain and alpinism.
{"title":"Through Ice and Snow. Mountain Films as Educational Films in the 1920s and 1930s","authors":"Marie-Noëlle Yazdanpanah","doi":"10.18146/tmg.838","DOIUrl":"https://doi.org/10.18146/tmg.838","url":null,"abstract":"The article focuses on two cinematic representations of alpinism and its multimedia performance practice in the popular education programmes of the Vienna Urania in the 1920s and 30s: First on Arnold Fanck’s early mountain film Im Kampf mit dem Berge (DE 1921). I am not concentrating on Fanck’s film version, but on the version produced by the Urania for popular education, which was distributed throughout Austria as Urania-Kulturfilm. I ask how the Urania utilised Im Kampf mit dem Berge as part of a media package (consisting of films, lectures and slides) and which media-pedagogical methods and practices were thereby employed. How did entertainment and instruction relate to each other? The second film I will look at is the ambitious Austrian amateur film Mit Steigeisen und Eispickel (c. 1934) produced and filmed by a group of mountaineers. I investigate how this film relates an established repertoire of images to elements of educational films to introduce the audience to new techniques of ice climbing: What techniques of showing and instructing are discernible and to what extent are the film and its performance practice ‘educational’? To sum it up, I interpret the mountain and alpine film as educational film and investigate the role and qualities attributed to the medium film as a teaching tool for conveying and disseminating contemporary ideas of the mountain and alpinism.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132935252","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}
Op 3 oktober 2022 hield Abel van Oosterwijk, documentalist bij Eye Filmmuseum, onderstaande lezing in het Noord-Hollands Archief in Haarlem. Aanleiding was de tentoonstelling Willem van Oranje door een gekleurde bril over de beeldvorming over Willem van Oranje door de eeuwen heen. In opdracht van Eye Filmmuseum deed Van Oosterwijk onderzoek naar de totstandkoming van de film Willem van Oranje (1934), de eerste lange Nederlandse speelfilm met geluid. Van Oosterwijk toont middels verschillende archiefvondsten aan dat de productie van deze film sterk was ingegeven door het Oranjenationalisme van de jaren 30, en zelfs indirecte banden had met het fascisme. Willem van Oranje krijgt in de film een heldenstatus toebedeeld als de ‘Vader des Vaderlands’.
{"title":"De sprekende zwijger. Willem van Oranje (1934) en het Oranjenationalisme van de jaren 30","authors":"Abel Van Oosterwijk","doi":"10.18146/tmg.862","DOIUrl":"https://doi.org/10.18146/tmg.862","url":null,"abstract":"Op 3 oktober 2022 hield Abel van Oosterwijk, documentalist bij Eye Filmmuseum, onderstaande lezing in het Noord-Hollands Archief in Haarlem. Aanleiding was de tentoonstelling Willem van Oranje door een gekleurde bril over de beeldvorming over Willem van Oranje door de eeuwen heen. In opdracht van Eye Filmmuseum deed Van Oosterwijk onderzoek naar de totstandkoming van de film Willem van Oranje (1934), de eerste lange Nederlandse speelfilm met geluid. Van Oosterwijk toont middels verschillende archiefvondsten aan dat de productie van deze film sterk was ingegeven door het Oranjenationalisme van de jaren 30, en zelfs indirecte banden had met het fascisme. Willem van Oranje krijgt in de film een heldenstatus toebedeeld als de ‘Vader des Vaderlands’.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114480491","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}
Due to a lack of sources documenting everyday teaching practices, historians engaging with the use of the optical lantern in education have traditionally focused on the top-down implementation of the medium. This contribution presents a rare case study of how the medium was actually used by focusing on a lesson on the saint Joan of Arc that was taught by means of the optical lantern at a Catholic school for girls. This analysis is enabled by the preservation of an exceptionally rich collection of lantern slides and related materials, including a notebook with the text that was probably used during the projection of the images. These sources show that the teacher who was in charge of the lesson went to great lengths to combine various images and text fragments with each other, creating a unique narrative that corresponded to her Catholic worldview and goals.
{"title":"The Example of Joan of Arc. How a Belgian Teacher Created a Lesson Illustrated by Means of Lantern Slides","authors":"W.A.M. Egelmeers","doi":"10.18146/tmg.863","DOIUrl":"https://doi.org/10.18146/tmg.863","url":null,"abstract":"Due to a lack of sources documenting everyday teaching practices, historians engaging with the use of the optical lantern in education have traditionally focused on the top-down implementation of the medium. This contribution presents a rare case study of how the medium was actually used by focusing on a lesson on the saint Joan of Arc that was taught by means of the optical lantern at a Catholic school for girls. This analysis is enabled by the preservation of an exceptionally rich collection of lantern slides and related materials, including a notebook with the text that was probably used during the projection of the images. These sources show that the teacher who was in charge of the lesson went to great lengths to combine various images and text fragments with each other, creating a unique narrative that corresponded to her Catholic worldview and goals.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131458566","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 contribution presents in a first step those pedagogical and aesthetic concepts that have played an essential role in the development of the Kulturfilm (cultural film) as well as in its differentiation from the educational and instructional film. In a second step, from the perspective of educational science, we will examine which meaninggiving parameters also determine the pedagogical dispositive of (moving) images, which modalities of showing enable experience and learning, and which processes the (learning) subject goes through. In recent years, these questions have increasingly been linked to an examination of the term of attention (Neuendank, 2022). After an introduction to the concept of attention, it will be applied to a reading sketch of the Kulturfilm “Die Wunder des Films” which had selected and newly reassembled previously known educational and Kulturfilm material along a teaching of cinematic recording processes.
{"title":"Showing – Becoming Aware – Learning. On the Pedagogical Dispositif of the Kulturfilm","authors":"Vrääth Öhner, Christian Dewald","doi":"10.18146/tmg.836","DOIUrl":"https://doi.org/10.18146/tmg.836","url":null,"abstract":"The contribution presents in a first step those pedagogical and aesthetic concepts that have played an essential role in the development of the Kulturfilm (cultural film) as well as in its differentiation from the educational and instructional film. In a second step, from the perspective of educational science, we will examine which meaninggiving parameters also determine the pedagogical dispositive of (moving) images, which modalities of showing enable experience and learning, and which processes the (learning) subject goes through. In recent years, these questions have increasingly been linked to an examination of the term of attention (Neuendank, 2022). After an introduction to the concept of attention, it will be applied to a reading sketch of the Kulturfilm “Die Wunder des Films” which had selected and newly reassembled previously known educational and Kulturfilm material along a teaching of cinematic recording processes.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116294595","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":"In memoriam Edward Schenk (1948-2022)","authors":"Pim Slot","doi":"10.18146/tmg.864","DOIUrl":"https://doi.org/10.18146/tmg.864","url":null,"abstract":"In memoriam of Edward Schenk (1948-2022)","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134147223","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}
Introduction to the special issue on The Educational Dispositif.
《教育论文集》特刊导言。
{"title":"The Educational Dispositif: a Smaller Abstraction","authors":"Marie-Noëlle Yazdanpanah, N. de Klerk","doi":"10.18146/tmg.865","DOIUrl":"https://doi.org/10.18146/tmg.865","url":null,"abstract":"Introduction to the special issue on The Educational Dispositif.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121084111","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}
Book review of: Martin Cooper, Radio’s Legacy in Popular Culture. The Sounds of British Broadcasting over the Decades (London: Bloomsbury, 2022); David Hendy, The BBC: a People’s History (London: Profile Books, 2022); Jamie Medhurst, The Early Years of Television and the BBC (Edinburgh University Press, 2022) and Simon J. Potter, This is the BBC. Entertaining the Nation, Speaking for Britain? 1922-2022 (Oxford University Press, 2022).
{"title":"A British Broadcasting Centenary and Media History","authors":"Huub Wijfjes","doi":"10.18146/tmg.860","DOIUrl":"https://doi.org/10.18146/tmg.860","url":null,"abstract":"Book review of: Martin Cooper, Radio’s Legacy in Popular Culture. The Sounds of British Broadcasting over the Decades (London: Bloomsbury, 2022); David Hendy, The BBC: a People’s History (London: Profile Books, 2022); Jamie Medhurst, The Early Years of Television and the BBC (Edinburgh University Press, 2022) and Simon J. Potter, This is the BBC. Entertaining the Nation, Speaking for Britain? 1922-2022 (Oxford University Press, 2022).","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"300 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120890937","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}
Book review of: Andreas Fickers, Annie van den Oever, Doing Experimental Media Archaeology: Theory (Berlin/Boston: Walter de Gruyter GmbH, 2022) and Tim van der Heijden, Aleksander Kolkowski, Doing Experimental Media Archaeology: Practice (Berlin/Boston: Walter de Gruyter GmbH, 2023).
书评:Andreas Fickers, Annie van den Oever, Doing Experimental Media Archaeology: Theory(柏林/波士顿:Walter de Gruyter GmbH, 2022)和Tim van der Heijden, Aleksander Kolkowski, Doing Experimental Media Archaeology: Practice(柏林/波士顿:Walter de Gruyter GmbH, 2023)。
{"title":"Doing Experimental Media Archaeology: Theory (2022) and Practice (2023)","authors":"Tim Overkempe","doi":"10.18146/tmg.859","DOIUrl":"https://doi.org/10.18146/tmg.859","url":null,"abstract":"Book review of: Andreas Fickers, Annie van den Oever, Doing Experimental Media Archaeology: Theory (Berlin/Boston: Walter de Gruyter GmbH, 2022) and Tim van der Heijden, Aleksander Kolkowski, Doing Experimental Media Archaeology: Practice (Berlin/Boston: Walter de Gruyter GmbH, 2023).","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"166 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127095066","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}
Public lectures were a typical social event to nineteenth and twentieth century audiences in the Netherlands. Among these, the so-called Nutslezingen were particularly well-known, eliciting praise, criticism, and mockery. The wide use of term Nutslezing is confirmed by its inclusion in the Van Dale dictionary with defines it as “lecture for a department of ‘t Nut.” The Maatschappij tot Nut van ’t Algemeen, Society for the Common Benefit, was established in the Netherlands in 1784, and the Nutslezingen were one of their earliest and certainly the most recognizable of their activities. In 1900, by becoming a member of the recently founded Vereeniging tot het houden van Voordrachten met Lichtbeelden, Association for the Organization of Illustrated Lectures, the departments of ‘t Nut gained access to a collection of slide-sets and readings which they could use for their lectures. Using Frank Kessler’s concept of the educational magic lantern dispositif, this article will examine how the projection of lantern slides was incorporated in the Nutslezingen and how the historical stakeholders, audiences, speakers, local board members, and the national administration of ‘t Nut engaged with the technology, in theory and in practice.
对19世纪和20世纪的荷兰听众来说，公开演讲是一种典型的社会活动。其中，所谓的Nutslezingen尤其出名，引发了赞扬、批评和嘲笑。“Nutslezing”一词的广泛使用在范戴尔词典中得到了证实，词典将其定义为“坚果系的讲座”。共同利益协会(Maatschappij tot Nut van ' t Algemeen)于1784年在荷兰成立，Nutslezingen是他们最早的活动之一，当然也是他们最知名的活动之一。1900年，通过成为最近成立的协会的一员，van Voordrachten会见了Lichtbeelden，即组织插图讲座协会，纽特大学的各系获得了一系列幻灯片和阅读材料，这些材料可以用于他们的讲座。本文将运用Frank Kessler的教育魔术灯的概念，研究如何将幻灯投影纳入Nutslezingen，以及历史利益相关者、观众、演讲者、地方董事会成员和国家管理人员如何在理论和实践中参与这项技术。
{"title":"The Nutslezing and the lantern: Public lectures with image projection organized by the Maatschappij tot Nut van 't Algemeen in the first decades of the 20th century","authors":"Dulce da Rocha Gonçalves","doi":"10.18146/tmg.828","DOIUrl":"https://doi.org/10.18146/tmg.828","url":null,"abstract":"Public lectures were a typical social event to nineteenth and twentieth century audiences in the Netherlands. Among these, the so-called Nutslezingen were particularly well-known, eliciting praise, criticism, and mockery. The wide use of term Nutslezing is confirmed by its inclusion in the Van Dale dictionary with defines it as “lecture for a department of ‘t Nut.” The Maatschappij tot Nut van ’t Algemeen, Society for the Common Benefit, was established in the Netherlands in 1784, and the Nutslezingen were one of their earliest and certainly the most recognizable of their activities. In 1900, by becoming a member of the recently founded Vereeniging tot het houden van Voordrachten met Lichtbeelden, Association for the Organization of Illustrated Lectures, the departments of ‘t Nut gained access to a collection of slide-sets and readings which they could use for their lectures. Using Frank Kessler’s concept of the educational magic lantern dispositif, this article will examine how the projection of lantern slides was incorporated in the Nutslezingen and how the historical stakeholders, audiences, speakers, local board members, and the national administration of ‘t Nut engaged with the technology, in theory and in practice.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"718 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116552254","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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