Jasmijn Van Gorp, Liliana Melgar Estrada, J. Noordegraaf
In this contribution we introduce a compilation of articles that reflect on the use of the CLARIAH Media Suite and its impact on research methods, as they were conducted during the CLARIAH research pilot projects (2017-18). The pilot projects fit in a co-development approach in which users are involved in infrastructure development from the start. We discuss how feedback of the pilot researchers was incorporated in the iterative development and testing of the Media Suite.
{"title":"Involving Users in Infrastructure Development: Methodological Reflections From the Research Pilot Projects Using the CLARIAH Media Suite","authors":"Jasmijn Van Gorp, Liliana Melgar Estrada, J. Noordegraaf","doi":"10.18146/tmg.809","DOIUrl":"https://doi.org/10.18146/tmg.809","url":null,"abstract":"In this contribution we introduce a compilation of articles that reflect on the use of the CLARIAH Media Suite and its impact on research methods, as they were conducted during the CLARIAH research pilot projects (2017-18). The pilot projects fit in a co-development approach in which users are involved in infrastructure development from the start. We discuss how feedback of the pilot researchers was incorporated in the iterative development and testing of the Media Suite.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133824081","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":"Transnational Environments and 'Mixed Signals' in Radio Propaganda: The Voice of America, the BBC, and the People’s Republic of China, 1949-1976","authors":"Donny Santacaterina","doi":"10.18146/tmg.778","DOIUrl":"https://doi.org/10.18146/tmg.778","url":null,"abstract":"","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132312902","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}
moviegoing metropolitan regional case study gives cause to take a fresh look at the extant assumptions about moviegoing in urban Turkey, and how they contrast to the rural, in terms of programming, of the social composition of the audience and of the cultural meanings attached moviegoing.
{"title":"Common Ground: Comparative Histories of Cinema Audiences","authors":"T. V. Oort, J. Whitehead","doi":"10.18146/tmg.797","DOIUrl":"https://doi.org/10.18146/tmg.797","url":null,"abstract":"moviegoing metropolitan regional case study gives cause to take a fresh look at the extant assumptions about moviegoing in urban Turkey, and how they contrast to the rural, in terms of programming, of the social composition of the audience and of the cultural meanings attached moviegoing.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122513449","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}
In recent years, spatial digital tools have become an important part of New Cinema History research. However, the use of spatial visualisation methods remains inconsistent and the ground norms have yet to be established, especially in a comparative approach. In this paper, we explore the possibilities of working with spatial visualisation: what are the benefits of its use and what new perspectives on a given problem can this approach reveal? Drawing on a quantitative analysis of cinema programmes, we incorporate geospatial as well as temporal aspects of film trajectories. In doing so, we explore to what extent the communication between cinemas and their strategies of programming can be explained through the geospatial perspective. By visualising the film circulation within two mid-sized cities (Ghent in Belgium and Brno in the Czech Republic) in 1952, the method reveals patterns in film trajectories and relationships between the cinemas. These findings show the potential for the incorporation of geospatial visualisation in a comparative research design.
{"title":"Moving Pictures in Motion: Methods of Geographical Analysis and Visualisation in Comparative Research on Local Film Exhibition Using a Case Study of Brno and Ghent in 1952","authors":"Terézia Porubčanská, P. Meers, D. Biltereyst","doi":"10.18146/tmg.672","DOIUrl":"https://doi.org/10.18146/tmg.672","url":null,"abstract":"In recent years, spatial digital tools have become an important part of New Cinema History research. However, the use of spatial visualisation methods remains inconsistent and the ground norms have yet to be established, especially in a comparative approach. In this paper, we explore the possibilities of working with spatial visualisation: what are the benefits of its use and what new perspectives on a given problem can this approach reveal? Drawing on a quantitative analysis of cinema programmes, we incorporate geospatial as well as temporal aspects of film trajectories. In doing so, we explore to what extent the communication between cinemas and their strategies of programming can be explained through the geospatial perspective. By visualising the film circulation within two mid-sized cities (Ghent in Belgium and Brno in the Czech Republic) in 1952, the method reveals patterns in film trajectories and relationships between the cinemas. These findings show the potential for the incorporation of geospatial visualisation in a comparative research design.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116596807","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}
C. Pafort-Overduin, K. Lotze, Åsa Jernudd, T. V. Oort
This article is an international collaboration focusing on three European port cities – Antwerp (Belgium), Gothenburg (Sweden) and Rotterdam (Netherlands) – in 1952, during the golden age of cinema prior to the rise of television. The objective is to test an approach for making transnational comparisons of distribution and exhibition based on film programming data. We use a mixed-method approach that combines data visualisations based on a simple network analysis and time plot visualisations. Our aim is to show how these visualisations can be helpful in characterising and comparing cinema markets in an attempt to answer the question of how films move through a city from one cinema to the other and how this flow can be characterised and compared.
{"title":"Moving Films: Visualising Film Flow in Three European Cities in 1952","authors":"C. Pafort-Overduin, K. Lotze, Åsa Jernudd, T. V. Oort","doi":"10.18146/tmg.790","DOIUrl":"https://doi.org/10.18146/tmg.790","url":null,"abstract":"This article is an international collaboration focusing on three European port cities – Antwerp (Belgium), Gothenburg (Sweden) and Rotterdam (Netherlands) – in 1952, during the golden age of cinema prior to the rise of television. The objective is to test an approach for making transnational comparisons of distribution and exhibition based on film programming data. We use a mixed-method approach that combines data visualisations based on a simple network analysis and time plot visualisations. Our aim is to show how these visualisations can be helpful in characterising and comparing cinema markets in an attempt to answer the question of how films move through a city from one cinema to the other and how this flow can be characterised and compared.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124165097","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 discusses the relevance of the histoire croisee approach that has been only marginally applied to film and cinema historical research. Histoire croisee is an approach to write history from a transnational perspective. It tries to overcome the conceptual shortcomings of comparative and transfer studies and integrates them into its theoretical framework. The case study of a political-cultural conflict between Brazil and Germany illustrates some of the methodological advantages of the histoire croisee approach. The paper argues that writing historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events that otherwise might be overlooked by comparative or transfer studies.
{"title":"Der Weg nach Rio in Brazil: Histoire Croisée, Public Diplomacy and Film-Historical Research","authors":"W. Fuhrmann","doi":"10.18146/tmg.590","DOIUrl":"https://doi.org/10.18146/tmg.590","url":null,"abstract":"The article discusses the relevance of the histoire croisee approach that has been only marginally applied to film and cinema historical research. Histoire croisee is an approach to write history from a transnational perspective. It tries to overcome the conceptual shortcomings of comparative and transfer studies and integrates them into its theoretical framework. The case study of a political-cultural conflict between Brazil and Germany illustrates some of the methodological advantages of the histoire croisee approach. The paper argues that writing historiography from a transnational perspective opens not only new areas of film historical research, it also offers a better understanding of film historical events that otherwise might be overlooked by comparative or transfer studies.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133860622","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}
New Cinema History has tended to focus on developing microhistories of the exhibition, distribution, and reception of theatrical Hollywood and other mainstream cinemas. While such scholarship has been essential for understanding how cinema operates as a sociocultural institution, its focus on the highly public forms of cinemagoing that often followed Hollywood film has left untouched the sometimes furtive and deliberately hidden cinemagoing practices and microhistories of queer audiences, curators, and exhibitors throughout the mid-to-late 20th century. This paper intervenes in this state of affairs and queers New Cinema History. I situate film festival studies and New Cinema History within the same methodological and theoretical terrain and argue that the exclusion of queer film festivals from New Cinema History is a result of both the field’s methodological preference for big data, as well as a structural heteronormativity underlying its methodologies. I further argue that by following affect, ephemera, and anecdotes, New Cinema History can better account for queer and other marginalised cinema practices.
{"title":"Queering New Cinema History: Affective Methodologies for Comparative History","authors":"Jonathan Petrychyn","doi":"10.18146/tmg.588","DOIUrl":"https://doi.org/10.18146/tmg.588","url":null,"abstract":"New Cinema History has tended to focus on developing microhistories of the exhibition, distribution, and reception of theatrical Hollywood and other mainstream cinemas. While such scholarship has been essential for understanding how cinema operates as a sociocultural institution, its focus on the highly public forms of cinemagoing that often followed Hollywood film has left untouched the sometimes furtive and deliberately hidden cinemagoing practices and microhistories of queer audiences, curators, and exhibitors throughout the mid-to-late 20th century. This paper intervenes in this state of affairs and queers New Cinema History. I situate film festival studies and New Cinema History within the same methodological and theoretical terrain and argue that the exclusion of queer film festivals from New Cinema History is a result of both the field’s methodological preference for big data, as well as a structural heteronormativity underlying its methodologies. I further argue that by following affect, ephemera, and anecdotes, New Cinema History can better account for queer and other marginalised cinema practices.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122859938","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":"Comparative, Entangled, Parallel and ‘Other’ Cinema Histories. Another Reflection on the Comparative Mode Within New Cinema History","authors":"D. Biltereyst, P. Meers","doi":"10.18146/tmg.795","DOIUrl":"https://doi.org/10.18146/tmg.795","url":null,"abstract":"","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"344 6-7","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132846520","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}
This paper aims to show how radio can be envisioned as a witness and agent of the transformations that operated during the forty-year Franco dictatorship in Spain. It analyses a number of radio scripts from the private station Radio Madrid to examine how the radio worked as a means to both affect and be affected by the sociopolitical events of the country. Its focus is on the discourse of programmes aimed at female audiences that exploited and re-educated housewives over the airwaves according to the regime’s interests. These programmes therefore served as a catalyst for state policies and the construction of the nationalist Project and also show the contradictions in the new femininity models manifested during the second Franco regime.
{"title":"Broadcasting the ‘Spanish Woman’. Nationalism and Female Radio Programmes During the Franco Regime","authors":"Sergio Fajardo","doi":"10.18146/TMG.598","DOIUrl":"https://doi.org/10.18146/TMG.598","url":null,"abstract":"This paper aims to show how radio can be envisioned as a witness and agent of the transformations that operated during the forty-year Franco dictatorship in Spain. It analyses a number of radio scripts from the private station Radio Madrid to examine how the radio worked as a means to both affect and be affected by the sociopolitical events of the country. Its focus is on the discourse of programmes aimed at female audiences that exploited and re-educated housewives over the airwaves according to the regime’s interests. These programmes therefore served as a catalyst for state policies and the construction of the nationalist Project and also show the contradictions in the new femininity models manifested during the second Franco regime.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121371246","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: Sarah Dellmann, Images of Dutchness: Popular Visual Culture, Early Cinema and the Emergence of a National Cliche, 1800–1914, Amsterdam University Press, 2019 (Framing Film series), 424 pp., ISBN 97894629 83007.
{"title":"Images of Dutchness: Popular Visual Culture, Early Cinema and the Emergence of a National Cliché, 1800–1914","authors":"Marte van Hassel","doi":"10.18146/TMG.443","DOIUrl":"https://doi.org/10.18146/TMG.443","url":null,"abstract":"Book review of: Sarah Dellmann, Images of Dutchness: Popular Visual Culture, Early Cinema and the Emergence of a National Cliche, 1800–1914, Amsterdam University Press, 2019 (Framing Film series), 424 pp., ISBN 97894629 83007.","PeriodicalId":187553,"journal":{"name":"TMG Journal for Media History","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123307429","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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