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Journal Cover VIEW Journal of European Television History and Culture
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  This is an Open Access Journal Open Access journal
   ISSN (Print) 2213-0969 - ISSN (Online) 2213-0969
   Published by Netherlands Institute for Sound and Vision Homepage  [1 journal]
  • 'Goodwill Ambassador': the Legacy of Dutch Colonial Films

    • Authors: Gerda Jansen Hendriks
      Abstract: The article looks back at the films commissioned and produced by the Dutch governments about their colony in teh East-Indies between 1912 and 1962. The main focus is on the newsreels and documentaries about the colonial war between the Netherlands and Indonesia  from 1945 to 1949. The article reviews these films and the re-use of their footage in later television programs. The programs often look back at the colonial war in ways that go beyond the purpose of the original films and the article aims to show the methods that are used to do this.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • 'Plundering' the Archive and the Recurring Joys of Television

    • Authors: Lisa Kerrigan
      Abstract: The seemingly unlimited digital landscape and the current proliferation of the use of archive footage on British television invite the notion that the appreciation of archive material as a historical object is a rather contemporary popular development. It seems unusual then, to find a series devoted to archive television in the mid 1960s. Largely showing excerpts from 1950s programmes, Plunder recalled what presenter Michell Raper called 'the vanished joys of television'. This article will detail the use of archive footage within the series and consider the programme’s configuration of the idea of the 'archive'.

      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Compiling European Immigration History: the Case of Land of Promise

    • Authors: Andrea Meuzelaar
      Abstract: Today television's reliance on archival footage seems to be intensifying due to the increased accessibility of European broadcast archives and the increased amount of available digitized broadcast material. In this article, the author reflects on television's convention to compile stories from archival material by presenting a case-study of a recently broadcast Dutch television series Land of Promise (2014). This series narrates the history of European post-war immigration, and is constructed from archival material from various European broadcast archives. In this article the author analyses the compilation strategy of Land of Promise, and assesses what kind of European immigration history the series has articulated through the selection and juxtaposition of archival footage.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Scratch's Third Body: Video Talks Back to Television

    • Authors: Leo Goldsmith
      Abstract: Emerging in the UK in the 1980s, Scratch Video established a paradoxical union of mass-media critique, Left-wing politics, and music-video and advertising aesthetics with its use of moving-image appropriation in the medium of videotape. Enabled by innovative professional and consumer video technologies, artists like George Barber, The Gorilla Tapes, and Sandra Goldbacher and Kim Flitcroft deployed a style characterized by the rapid sampling and manipulation of dissociated images drawn from broadcast television. Inspired by the cut-up methods of William Burroughs and the audio sampling practiced by contemporary black American musicians, these artists developed strategies for intervening in the audiovisual archive of television and disseminating its images in new contexts: in galleries and nightclubs, and on home video. Reconceptualizing video's “body,” Scratch's appropriation of televisual images of the human form imagined a new hybrid image of the post-industrial body, a “third body” representing a new convergence of human and machine.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Visions of Reconstruction: Layers of Moving Images

    • Authors: Floris Jan Willem Paalman
      Abstract: After WWII, films accompanied the reconstruction of Europe’s destroyed cities. Many contained historical footage. How was this material used, to articulate visions of reconstruction, what happened to the material later on, and how do the films relate to municipal film archives? This question is approached in terms of collective cognitive functions, applied to a media archaeological case study of Rotterdam. In focus are two audiovisual landmarks, from 1950 and 1966, and their historical footage, all with different temporal horizons. This study attempts to position the city film archive in media history.

      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • The Television Archive on BBC Four: from Preservation to Production

    • Authors: Vana Goblot
      Abstract: Reusing audiovisual archive material is a growing trend on television and has many purposes, ranging for commercial to more ‘purely’ social and cultural ones. Focusing on the uses of the television archive on BBC Four, the BBC’s ‘custodian of archive’ and digital channel for arts, culture and ideas, this article examines a selection of archive rich programmes shown on the channel, in order to explore the ways in which the television archive is becoming indispensible in programme making. Based on interviews with BBC Four programme makers, the article further posits that memory, nostalgia, aesthetic and moral judgement and, crucially, self-reflexivity are at play in archive-based programme making, and propose three distinct production approaches – interpretative, interventional and imaginative  –  all of which contribute differently to the television archive’s being seen as a ‘creative tool’.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Authorship, Autobiography and the Archive: Marilyn on Marilyn, Television
           and Documentary Theory

    • Authors: Paul Kerr
      Abstract: In 2004, documentary theorist Michael Renov described ‘the recent turn to filmic autobiography’ as ‘the defining trend of “post-verite” documentary practice...’ In 2008 Renov went further still, suggesting that ‘the very idea of autobiography challenges/reinvents the VERY IDEA of documentary.’ Archive based autobiographical filmmaking, meanwhile, is even more problematic for documentary theory. Indeed, a number of recent documentaries, because of their status somewhere in the spectrum between biography and autobiography, have prompted the construction of an entirely new conceptual category, deploying archival film, often in the form of home movies, to document the lives of their human subjects in Renov’s formulation ‘shared textual authority’.  In this article I examine one of ‘my’ own archive based documentaries, ‘Marilyn on Marilyn’ (BBC2 2001), as a way of asking questions not just about biographical and autobiographical documentary but also - and perhaps more urgently - about attributions of authorship in archive-based documentary.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Archive Footage in New Programmes: Presentational Issues and Perspectives

    • Authors: Steve George Bryant
      Abstract: Archivists have traditionally been concerned about what they have seen as incorrect usage of archival footage in new documentaries, but changing technologies and programme-making conventions have made this inevitable. This paper considers aspects of these changes, focussing particularly on the issue of how the introduction of widescren television affected and continues to affect the aspect ratios in which archival materials are presented, using examples from recent and contemporary television documentaries from Britain and the USA.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Histoire Parallèle/Die Woche vor 50 Jahren (La SEPT/ARTE 1989-2001):
           Newsreels as an 'Agent and Source of History'

    • Authors: Jean Christophe Meyer
      Abstract: This contribution is aimed at analyzing the public impact of „Histoire Parallèle/Die Woche vor 50 Jahren“, a history show that stands out by its longevity and conceptual design. This study is founded on archive material and statistical data (Institut National de l’Audiovisuel, Arte, Deutsches Rundfunk Archiv, …), contemporary literature and press coverage as well as on an interview with Marc Ferro, the mainstay of this show.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Eyewitnesses of History: Italian Amateur Cinema as Cultural Heritage and
           Source for Audiovisual and Media Production

    • Authors: Paolo Simoni
      Abstract: The role of amateur cinema as archival material in Italian media productions has only recently been discovered. Italy, as opposed to other European countries, lacked a local, regional and national policy for the collection and preservation of private audiovisual documents, which led, as a result, to the inaccessibility of the sources. In 2002 the Archivio Nazionale del Film di Famiglia (Italy’s Amateur Film Archive), founded in Bologna by the Home Movies Association, became the reference repository of home movies and amateur cinema, promoting the availability of a cultural heritage that had previously been neglected. Today, it preserves about 5,000 hours of footage, contributes to documentary film productions and acts as a cultural and production center. The impact factor of the Home Movies Archive on the Italian audiovisual scenario and the sustainable perspectives strengthen the awareness that amateur film offers new opportunities to discover and represent the past from a different perspective, the one of an eyewitness “from below”. The article overviews the European and Italian discovery of amateur cinema as historical source from the seventies, and some cases from the Italian panorama during the last fifteen years, which powerfully raised the attention on home movies and amateur archive material.
      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
  • Editorial

    • Authors: Claude Mussou, Mette Charis Buchman
      Abstract: Archives have traditionally been the result of individual or collective decisions taken on political, institutional or business grounds in order to preserve documents and make these accessible for use. In the current digital ‘era of plenty,’ which enables an unprecedented creation of, and access to archival content, it seems that the very definition of an archive and its usage is being challenged. As a journal that aims to bring together archival expertise and academic knowledge on television history and culture and the role of archives in mediating the past, VIEW is proud to present an entire issue dedicated to ‘Archive Based Productions.’ Unlike other issues, this issue features the most contributions written by archive professionals, which can be found in the Discovery section of our journal. These archival discoveries complement the more scholarly explorations, which offer a broader perspective on archives as ‘launch pads’ for new productions.

      PubDate: 2015-12-30
      Issue No: Vol. 4 (2015)
School of Mathematical and Computer Sciences
Heriot-Watt University
Edinburgh, EH14 4AS, UK
Tel: +00 44 (0)131 4513762
Fax: +00 44 (0)131 4513327
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