Open EUscreen Items to Reuse and Remix

In honour of Open Access Week, EUscreen releases an Open EUscreen portal, which advances the work on re-use executed in the project. Thanks to the enthusiastic responses from some partners, we’ve been able to develop this platform with selected content to stimulate creative re-use.

On of the four corner stones of EUscreen is Re-use and Creativity: it was the topic of the second, Stockholm conference, was widely discussed in the status of online audiovisual heritage report and worked on in a series of workshops (Helsinki Remix and this year’s Open Knowledge Festival) under the guidance of our Finnish partners from the Helsinki Media lab. A significant milestone related to this topic is the production of an Open EUscreen portal, which advances the work on re-use executed in the project. Thanks to the enthusiastic responses from some partners, we’ve been able to develop and advance a separate EUscreen platform on Open Images.

Open Images is an open media platform that offers online access to audiovisual archive material to stimulate creative re-use. Footage from audiovisual collections can be downloaded and remixed into new works. Open Images also provides an API, making it easy to develop mash-ups. The ‘open’ nature of the platform is underscored by the use of open video formats (Ogg Theora), open standards (HTML5, OAI-PMH) and open source software components. Furthermore, all software that is developed within the scope of Open Images will also be released under the GNU General Public Licence.

The site is accessible at http://euscreen.openimages.eu and was released to coincide with the Open Access Week. It features selected materials from EUscreen partners NAVA, Cinecittá Luce, VRT, Sound and Vision and TV3, who have made their materials available under a Creative Commons license. 58 videos have been uploaded and will remain available on this portal for reuse purposes. The reuse portal also receives a clear entry point on the EUscreen portal itself.

Open Video Make Session at the OKFest

Open Video Workshop Poster

On September 18th, 2012, Sanna Marttila, Kati Hyyppä and Ramyah Gowrishankar (Aalto University) organised the Open Video Make Session in Helsinki as a part of EUscreen and the Open Culture and Science Hackday of the Open Knowledge Festival.

Report by Kati Hyyppä, Aalto University School of Arts, Design and Architecture.

The hackday included various activities involving working with and building things with open cultural and scientific data. The Open Video Make Session focused on video as a rich resource for creative use. Despite recent technical developments such as Popcorn, it’s still rather complex to take video to the next level: beyond traditional remixing.

Programming skills are usually needed for making use of temporal and spatial video characteristics and metadata. Combining video with other content, such as open data, also has unexplored potential. In order to tackle these challenges and to promote new uses for audiovisual materials in the cultural heritage domain, about 10 experts from different fields were invited to the Open Video Make Session to open up video as an exploratory medium. The session was open for anyone to join in, either to make something or to see experts at work and to learn more about open video.

The Open Video Make Session provided insights into the different dimensions of archival video that can serve as inspiration for creative works. While some participants focused on mood and storytelling, others utilized audio, visual details, timeline and APIs. You can find documentation of the projects made in the session here: Open Video Make Session projects (currently being updated).

EUscreen Wins Silver Lovie Award

The European project EUscreen: Exploring Europe’s television heritage in changing contexts wins a Silver Award in the 2nd Annual Lovie Awards, category Television. 

EUscreen was chosen by the expert members of the International Academy of Digital Arts & Sciences (IADAS) from nearly 1,000 entries  from over 20 countries in Europe. This year’s Lovie Awards is the biggest yet and continues to be the leading European award honouring excellence on the Internet.

With entries from over 20 European countries, the 2012 Lovie Winners truly represent the best of the EU Web as selected by the International Academy of Digital Arts and Sciences, the same judging body for The Webby Awards.

Until November 1st, the online public, can cast ballots for their favorite EU Websites, Internet Video, Online Advertising and Apps in the People’s Lovie Awards. The People’s Lovie Awards is a chance for the online public to vote for their favourite work, and it is now open at www.peopleslovie.eu.

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Calls for Papers on Commercial Television, Private Television and Waste

1. Call for papers: Moving at Different Speeds

Comunicazioni sociali, I, 2013. Monographic issue: Moving at Different Speeds. The Commercialization of Television Systems in Europe and its Consequences. Co-editors: Massimo Scaglioni, Luca Barra (Università Cattolica di Milano). Accepted languages: English, Italian, and French

This special issue of Comunicazioni sociali will analyze the gradual diffusion of several models of commercial TV throughout the decades into different nations across Europe. It aims to provide readers with an outline of the implications of commercialization at the social, cultural, institutional, political, textual and technological level, through case studies of individual nations or regions, comparative studies or theoretical analyses. Abstracts are invited for contributions to a special issue that will seek to further our understanding of the historical dynamics of TV commercialization that have differently shaped broadcasting systems in various European contexts: similarities and differences will emerge, contributing to a deeper comprehension both of European television histories and of the historical logics and developments of the medium.

Paper proposals (250-300 words, in English, French or Italian), along with short biographical notes and key bibliographical references, are due by October 31, 2012. Submissions should be sent to both the editors, Massimo Scaglioni (massimo.scaglioni@ unicatt.it) and Luca Barra (luca.barra@unicatt.it). Notifications of acceptance will be sent no later than November 15th, 2012. See the full CfP at: http://blog.euscreen.eu/?p=3263

2. Call for papers: Media Innovations & Private Television Conference

IBBT-SMIT-VUB organizes the Second International Symposium on Media innovations and the Private Television Conference in cooperation with the University of Oslo (Norway) on April 18-19, 2013

The Media Innovations Symposium explores how changing technologies, and changing modes of usage and engagement with media bring about innovation and transformation of the media industry and its policy. The second day will be a co-organization with the Private Television Conference and will be dedicated to innovations in the television broadcasting industry.

Send your 750-word extended abstract to info@mediainnovations.be by 15 November 2012. Topics/sectors: innovating in formats; innovating in business models; innovating in delivery (trying to reach the consumer in new ways) ; innovating in consumption practices (new roles of users).  Abstract acceptance will be announced in December 2012. Full paper deadline March 1st , 2013. The best paper award will be announced during the conference.

3. Call for papers: ‘Waste’.

NECSUS_European Journal of Media Studies #4, Autumn 2013  – Guest editors: Alexandra Schneider and Wanda Strauven


NECSUS is an international, open access, peer-reviewed journal of media studies published by Amsterdam University Press in partnership with NECS (European Network for Cinema and Media Studies). The journal is multidisciplinary and strives to bring together the best work in the field of media studies across the humanities and social sciences.
A special section of NECSUS will address the phenomenon of waste in the broad range of past and present media practices. We suggest to consider waste not only in terms of content or representation, but also and especially as a rhetoric, a method, or a strategy. At stake are issues such as the deterioration of film stock and VCR tapes, the future of dead media, the massive growth of electronic garbage, game consoles that can no longer be played due to the industry’s ‘planned obsolescence’, and the ephemerality of organic art. Waste is understood here in its multiple dimensions both as (everyday) matter and (conceptual) metaphor, as materiality and immateriality, as a socio-economical concern and artistic technique, and as repulsion and beauty.

Topics may include, but will not be limited to the (renewed) tradition of found footage; the archiving of bits and pieces; the aesthetics of decay; obsolete media devices; e-waste; biodegradable art works and installations; the display and concealment of waste in various media. NECSUS looks forward to receiving abstracts of 500 words and a short bio of no more than 150 words by 1 December 2012 at the following address: g.decuir@aup.nl. NECSUS also continues to accept a wide variety of abstracts for both full-length essays and short reviews that may not be related to a special section theme.

The Olympic Television Studies Seminar

On September 28th, 2012 the Television Studies Commission of the International Federation of Television Archives, FIAT/IFTA, organised a one-day seminar at the British Film Institute in London. It was the second international television studies seminar organized by the TSC, after the first one took place in Paris at l’Institut National de l’ Audiovisuel in 2010. The seminar brought together television studies scholars and television archivists from around the world. In the year of the London Olympics, the morning session discussed the theme ‘Sport and the Olympics’.

Report by Dana Mustata, University of Groningen

Mette Charis Buchman presenting DR

Dr. Eggo Müller from Utrecht University opened the event with a keynote speech on the Mediatization of Sport. He discussed sport in relation to a process of mediatization, zooming in on the diverse logics of sport and media and how the two intertwine. Arguing that sports and its mediatisation are in fact two sides of the some coin, Eggo Müller pointed out that the sports spectator’s has an intrinsic longing for mediatisation that is attained through processes of identification, representation and contemplation. Mette Charis Buchman from Danmarks Radio Archives continued the series of talks on sport and television with a visual journey through Danish archival footage on the Olympics, accompanied by brief history of Danmarks Radio Archives.

The afternoon sessions presented academic papers based on research done in several FIAT/IFTA member archives. In the panel Media and Politics, Ken Griffin from the University of Ulster drew upon research carried out at Ireland’s National Television and Radio Broadcaster RTÉ to discuss RTÉ ‘s early cross-border cooperation with the Northern Irish broadcaster UTV. Concepción Cascajosa from Carlos III University of Madrid illustrated footage from the Spanish broadcaster RTVE and discussed images of the masses as a representation of change in the aftermath of Franco’s death. Berber Hagedoorn from Utrecht University exemplified how Dutch broadcast archival footage is used in today’s multi platform television to visualize the history of World War II for young audiences in the Netherlands.

The last panel of the day, British Perspectives, provided insights into different aspects of the history of British television. Elinor Groom from Nottingham University presented the findings of her research at the BFI Archives on the early history of ITV’s regional franchise Southern Television. Lisa Kerrigan from the British Film Institute (BFI) introduced lost footage of British television drama, which was recently rediscovered at the Library of Congress. Nathan Budzinski discussed the British television documentary tradition, zooming in specifically on the work of John Grierson. At the end of the day, Dana Mustata from the University of Groningen presented the open access journal VIEW. She spoke about the collaborative practices between academics and archivists on the journal and the ways in which the journal promotes innovative ways of writing television histories in a multi-media environment, allowing the integration of archival sources within academic articles.

The seminar enabled a bridge of dialogue between television scholars and television archives and encouraged fruitful exchanges between them. Several members of the European Television History Network and EUscreen were present at the event. The seminar was organized under the umbrella of the FIAT/IFTA World Conference, which also hosted a joint EUscreen and Europeana panel. In the panel, Johan Oomen from the Netherlands Institute of Sound and Vision, David Smith from Europeana, Marco Rendina from Cinecittà Luce and Dana Mustata spoke about the accomplishments of EUscreen, offered a sneak preview into EUscreenXL and the future of online audiovisual archives and emphasized the value for television research of online audiovisual databases.

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Med-Mem: Sharing Mediterranean Audiovisual Heritage

On October 12, a new multilingual website called Med-Mem was launched in Marseille. The portal aims to promote Euro-Mediterranean heritage through audiovisual archives from the region’s public televisions. With some 4.000 audiovisual documents available to the public free of charge, Med-Mem – co-funded by the European Union as part of the Euromed Heritage IV programme – is the largest online video archive library specifically devoted to the historic, cultural and touristic heritage of the Mediterranean.

Archival material from 14 regional broadcasters

Med-Mem is led by EUscreen partners Ina, the French National Audiovisual Institute, and Italian national broadcaster RAI TV, which contributed 400 historical documents, oversaw the digitisation of the database along with Ina, and trained the personnel involved. Also involved is EUscreen partner TV3 from Catalonia. Other partners of the Med-Mem project are the Rome-based Permanent Conference of Mediterranean Audiovisual Operators (COPEAM), Algerian public television (EPTV), Jordanian broadcaster JRTV and Morocco’s national broadcaster SNRT.

As the project puts it: Far more than just a shop window or a mere video catalogue, Med-Mem boasts an enriched interface and a high degree of editorial content, offering a multitude of entrance pathways. The large number of insights available means that each individual will be able to establish a personal pathway through the riches of Mediterranean culture and history.

Shared Mediterranean Audiovisual Heritage

Initiated by Ina under the auspices of COPEAM, the Permanent Conference of the Mediterranean Audiovisual Operators, at the request of the holders of audiovisual archives in the Mediterranean region, “Sharing our Mediterranean Audiovisual Heritage (Med-Mem)” offers the general public some 4.000 audiovisual documents from the countries in the Mediterranean area. The TV and radio archives, set into their historic and cultural context, are accompanied by a trilingual documentary note (in French, English and Arabic). Med-Mem strives to raise the profile of a common heritage, and underpins the drive to safeguard Mediterranean audiovisual archives.

Med-Mem targets various audiences:

  • The general public, and young people in particular will be able to freely discover the Med-Mem website, the riches of both their own heritage and that of other Mediterranean countries, and to gradually share and appropriate the Mediterranean cultural heritage.
  • Researchers, teachers and students will find audiovisual documents with commentaries on the Med-Mem site, offering a range of viewpoints for their research and teaching purposes.
  • The visibility of the audiovisual archives put online on the MedMem website provides Mediterranean broadcasters with a new opportunity to raise awareness about the safeguarding and digitalisation of this endangered heritage.

Partners in the Project

The project brings together 20 partners, including 14 Mediterranean television corporations, 3 professional bodies, and high-profile cultural and scientific partners. It forms part of a collaborative partnership, open to all Mediterranean audiovisual archives. The sharing of documentary and technical tools, of policies for safeguarding the audiovisual heritage, and of best legal practices, form an integral part of the project. A network of educational and cultural institutions (museums, libraries, universities, etc.) offer the public website consultation points to broaden its reach.

The full list of Med-Mem partners is:

  • INA (Institut National de l’Audiovisuel-France),
  • COPEAM ( Conférence Permanente de l’Audiovisuel Méditerranéen – Permanent Conference of the Mediterranean Audiovisual Operators),
  • Rai (Italian Radio & Television),
  • EPTV (Entreprise Publique de Télévision-Algerian Television),
  • JRTV (Jordan Radio and Television – Jordanian television),
  • SNRT (Société Nationale de Radiodiffusion et de Télévision – Moroccan Television),
  • 2M-SOREAD (Sociéte d’Etudes et de Réalisations Audiovisuelles-Moroccan Television),
  • MMSH (Maison Méditerranéenne des Sciences de l’Homme-France),
  • CMCA (Centre Méditerranéen de la Communication Audiovisuelle),
  • Biblioteca Alexandrina (Egypt),
  • Uninettuno (International Telematic University – Italy),
  • UER / EBU (Union Européenne de Radiodiffusion – European Broadcasting Union),
  • ERTU (Egyptian Radio and Television Union- Egyptian television),
  • HRT (Hrvatska Televizija- Croatian Radiotelevision),
  • PBC (Palestinian Broadcasting Corporation – Palestinian television),
  • IBA (Independant Broadcasting Authority-Israeli Television),
  • CyBC (Cyprus Broadcasting Corporation – Cyprus television),
  • TV3 (Televisio de Catalunya-Catalonian Television),
  • TT (Tunisian Television)
  • Astram (Arts, Sciences et Techniques / Recherche Audiovisuelle et Multimédia- Aix Marseille University).

The website is accessible to everyone free of charge. Do take a look and visit: www.medmem.eu

Report on the Final EUscreen Conference, Part 2 of 2

EUscreen organised its final conference on September 13 and 14, focusing on Television Heritage and the Web. We looked back on lessons learned, showcased the achievements of the project and looked at the road ahead. This conference report wraps up the conference topics and debates and was jointly edited by Brecht Declerq, Florian Delabie, Berber Hagedoorn, Yves Niederhäuser, Elke Poppe, Katja Šturm and Erwin Verbruggen. Presentations and video recordings of the conference will be made available over the next days at the conference overview page.

Presenting the Virtual Exhibitions

The last presentations of the first day of the conference discussed the virtual exhibitions that were recently published on the EUscreen portal. These online exhibitions aim at helping visitors find their way throughout the mass of materials and sources available on the portal and providing more stories and background info linking together its contents. During this latest round of presentations, we were presented with the future of the exhibition builder, a tool built specially to create and manage the exhibitions on EUscreen. A second point for discussion was the editorial work to put them online and their use as sources for television history researchers.

Mr. Ockeloen and dr. Barber presenting the EUscreen exhibition development (Photo: Miklós Varga)

This last aspect was presented by Dr. Dana Mustata, from the University of Groningen. She began with the personal thought that she considered herself an analogue researcher in a digital world, wherein she realised that historical television items are often displaced and decontextualised when they are published online. Online archives have been pre-selected by archivists and are placed on websites with limited information or historical context. Dr. Mustata proposed methods and a historiography to be developed to use online sources. She first highlighted the phenomena, practices and processes of Europeanness and trans-nationality in television history, then explained how she prefers to present this kind of collaborative practices as visible agencies, so that it could help rediscovering neglected aspects of television history. Mustata concluded her presentation by stating that the scientific value of EUscreen could be increased with a collaborative platform through which experiences could be shared and could contribute to writing television history.

As dr. Sian Barber from Royal Holloway, University of London, presented, the editorial process to choose/select media to be published into the exhibitions follows the lines of such an intricate collaboration. The main purpose of the exhibitions is to give meaning to content through collaborative work between researchers, content providers and technological partners. Working together with these groups allows researchers to better understand the process of content selection, while content providers get the opportunity to show their archives in another way and to highlight new aspects of their collections. dr. Barber concluded with a presentation of the selection process that was used on some of the online exhibitions that have recently been released . Daniel Ockeloen from Noterik completed this presentation by showing the technical challenges of the exhibition builder, which has been custom-built within the project to create and manage exhibitions that include the various video sources and the descriptive information on EUscreen.

Workshop: Best-Practice Applications

Ms. Šturm and mr. Lavrenčič from RTV (Photo: Miklós Varga)

On Friday the Final EUscreen International Conference continued with opening and welcoming by Sonja de Leeuw, who introduced the two EUscreen best-practice applications showcased by TVR (Romania), RTV (Slovenia) and RTBF (Belgium). Due to unforeseen circumstances, keynote speaker Jamie Harley was not able to attend.

Irina Negraru from TVR and dr. Dana Mustata presented their personal experiences working with content within the television archive of the Romanian public broadcaster. Both emphasised the lack of content concerning social issues, sexual revolution or any other sort of socially related items during the Nicolae Ceaușescu era. They discussed the necessity of de-westernalizing and reevaluating the existing frameworks and concepts that emerged out of a Western reality. Together, they emphasized the need to redefine television research methods in future television history writing by adding new theoretical concepts that emerge out of Eastern histories.

Katja Šturm from RTV Slovenia carried out the second presentation in this morning slot. She illustrated a successful project in which audiovisual materials of a national broadcaster are reused and contextualised. In 2011, RTV Slovenia created a special web portal 20 Years of Slovenia to honour the country’s 20 years of independence. The online portal includes content from three media sources: television, radio and multimedia contributions. The next step was implementing the involvement of the general public on one side and of TV crews, journalists and reporters on the other to personalise the portal with their own memories and personal stories. The portal is now available in Slovenian only, but we recommend perusing through the portal with the aid of online translation tools to discover the wealth of national content and personal experiences that lie within.

Mr. Nemes from Kitchen Budapest (Photo: Miklós Varga)

Xavier Jacques-Jourion presented how his broadcast institution, the Radio Télévision Belge Francophone has performed a number of web experiments and has fine-tuned an application that links television archive material materials to the broader web of knowledge that is the internet. After concluding that for many access portals that have been built in the past it’s often more difficult to find the framework than the original videos that were on them, the broadcaster set about developing a browser that unites the raw archive data with information sources on the web. Instead of creating new separate web projects, they now intend to create a rich interface to support researchers, journalists and production assistants to go through the collection and discover unexpected sourrces. We’ve talked extensively on this blog about the power of the semantic web and Xavier’s GEMS example is a compelling next step into applying this theoretical model to a day-to-day application. For more info about this technology, take a look at Europeana’s video What is Linked Open Data or at the EUscreen LOD page.

The conference was closed by Hungarian curator Attila Nemes, who founded Kitchen Budapest, which is a new media lab that focuses on innovative research into fields as varied as mobile communication, digital storage and online content. His contribution focused on the use of digital media to improve people’s private lives, thereby including private materials and gathering information on how focus groups such as little children or the elderly go about using digital and moving image technologies and can use them to improve personal bonds, facilitate family communication and aid their daily dose of happiness.

Overall, the conference gave a healthy overview of the playing field in which EUscreen operates. It showed that the project has constructed both a technological platform – one that provides a place where unique content is gathered and contextualised for different groups of users – and a network of people from different backgrounds with a shared interest in providing access & context to historical audiovisual materials. In this double sense, EUscreen has a challenging task in a time where media outlets are rapidly changing and next steps to take in the years that lie ahead.

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Exhibitions that Jump, Dance, Pray and Revolt

The recent history of Europe is varied and curious and has been closely observed through the lenses of television cameras. EUscreen makes available a substantive amount of archival television materials for free on its portal and through Europe’s cultural access point, Europeana. More than 40.000 items can currently be explored. The EUscreen exhibitions add another layer to this varied, diverse and fascinating collection. Hand-picked by researchers and seasoned archivists, they offer the back stories on international evolutions and local stories throughout the twentieth century. Today we present a new quartet of exhibitions to entice your imagination.

From Slovenia, we’re drawn into a history of the country’s bond with the awe-inspiring acrobatics of ski jumpers. The Hungarian audiovisual archive shows how rich the culture is that once inspired Brahms to his famous Hungarian Dances and brings you in close contact with songs and dances from the Puszta. Scholars from the Netherlands and the UK offer perspectives on television and religion: what camera angle is the pope’s favourite? And how many women priests exist in the European religious space? Finally, from the Czech Republic comes a harrowing account on the country’s Velvet Revolution.

Dive in and explore these – and many other – exhibitions that are up on display at www.euscreen.eu/exhibitions.html

Ski jumping and winter sports

Planica is a place synonymous with both ski jumping and ski flying. The importance of this location is recognised not only in Slovenia but throughout the skiing world. This exhibition explores the history of Planica ski jumping and ski flying competition through texts, images and footage and reveals this important sporting legacy from an audiovisual perspective.
Go to exhibition.

Ski jumping and Ski Flying. Exhibition curated by Katja Šturm, RTV Slovenia.

Hungarian music and dance

This virtual exhibition allows an insight into the world of traditional and contemporary Hungarian music and dance culture represented amply in the collections of the National Audiovisual Archive of Hungary (NAVA).
Go to exhibition.

Hungarian Music and Dance. Exhibition curated by the National Audiovisual Archive of Hungary.

Religion and Faith

This exhibition explores different aspects of religion and faith and considers how these and a range of related issues are dealt with on television.
Go to exhibition.

Religion and Faith. Exhibition curated by Richard Hewett, Royal Holloway, University of London, Dana Mustata, University of Groningen and Berber Hagedoorn, University of Utrecht.

The Velvet Revolution

The goal of this virtual exhibition is to explore the anatomy of the so-called Velvet Revolution, which saw the fall of the communist regime in Czechoslovakia.
Go to exhibition.

The Velvet Revolution. Exhibition curated by Martin Bouda, Czech TV.

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