BAAC Annual Conference 2016 | Audiovisual Heritage and People: Connecting, Curating, Sharing

 

The 13th BAAC annual conference will be held from November 2nd to 3rd this year in Vilnius, Lithuania, on the premises of the Arts Printing House – the building of a former printing house dating back to the 16th century. The conference will be hosted by the Lithuanian Central State Archive and Archivists’ Association. BAAC invites presentation proposals, which can be submitted until 10 June 2016. The BAAC conference will be followed by the second international Europeana Sounds conference, “Unlocking Sound Collections”, which will be held on November 4th this year at Vilnius University. ( Read more…)

EUscreenXL: Participant of the E-Space Hacking Culture Bootcamp

Author: Laura Osswald, Mariana Salgado and Willemien Sanders

Within the framework of Europeana Space a number of hackathons are organised to develop tools for using Europeana content. The Hacking Culture Bootcamp hackathon, held in Amsterdam between May 8 and May 10 this year, focused on creating multiscreen experiences with digitalized historical footage from Europeana. In the hackathon seven teams of participants from different backgrounds created new multiscreen digital tools to engage with cultural heritage. For EUscreenXL we participated with a team of six.

( Read more…)

Putting the “XL” in EUscreenXL: We’re Expanding

EUscreen successfully aggregated tens of thousands of cultural heritage audiovisual materials from all across Europe. However, there are more archival films and videos out there, waiting to be found, aggregated and organised in a way that makes it easier for everyone to discover the continent’s rich cultural heritage through moving images.

If two cookies are better than one cookie, what is better than 500,000 aggregated cultural heritage videos? 1.000.000 aggregated cultural heritage A/V materials made findable and accessible through a single entry point all in one place (Europeana), showing the way life in Europe was and continues to be. That is the challenge EUscreenXL has set itself.

EUscreenXL strives to make this possible but needs you in order for this to work. join the network_5Archives, broadcasters, universities, libraries: the consortium welcomes those with audiovisual collections online who want to contribute to this long-standing endeavor.

Join Our Network

Joining the EUscreenXL benefits multiple parties: your institution, your content and the general public. Here are some examples:

  • Help us overcome the fragmentation of Euorpean audiovisual cultural heritage content available online.
  • Have your content join the rich collection of European cultural heritage content available on Europeana, Europe’s online cultural hub.
  • Have your content be professionally contextualized by EUscreen’s network of academics and media professionals.
  • Become part of an interoperable portal which will increase your content’s visibility and accessibility.
  • Have your content’s metadata aligned to EBUcore (European broadcasting standard) and EDM (European cultural sector standard).
  • Have your institution become part of an expansive network of leaders and experts in the audiovisual cultural heritage sector.

Do any of these benefits strike your interest? Would you like to learn more? We would love to hear from you. Click on over to our Join the Network page or contact us at mailto:info@euscreen.eu.

Public Service 3.0 International conference on the current transformation of broadcast television

20-21 November 2013, Filmhuset (Stockholm, Sweden)

 Organizers:

Ib Bondebjerg & Patrick Vonderau

Department for Media Studies (IMS), Stockholm University

Department of Media, Cognition and Communication, University of Copenhagen

 

Keynote Speakers:

James Bennett (Royal Holloway, University of London)

Bridget Conor (King’s College, London)

Toby Miller (UC Riverside)

 

Television production, distribution and consumption are currently undergoing major changes. While some fear the «end of television», others have praised the advent of «social TV». Bringing together scholars from Denmark, Sweden, and the United Kingdom, this seminar invites to discuss the current transformation of broadcast television.

Focusing on the role of public broadcasting services, the seminar addresses issues related to regulatory frameworks and commissioning structures, multiplatform production and digital distribution. It also sheds light on changing conditions for media work, on new forms of content creation and storytelling strategies. How do PBS deal with the challenge of new independent online providers? What strategies for digital content provision and audience interaction are they developing? What implications does the digital landscape hold for creative work and content providers?

In taking up these and related questions, the overall aim of this meeting is to stipulate international collaboration that may lead to collaborative research projects of relevance to Media Studies but even to legislators, commissioners, programmers and practitioners working in the television industries.

 

Registration:

Conference Management:

Chris Baumann & Kit Krogvig

Attendance is free, but registration is required

chris.baumann@ims.su.se

 

 

From One Screen to Another: The Mutations of the Spectator – CALL FOR PAPERS

Call for Papers
Université Paris 8 (Centre d’études sur les médias les technologies et l’internationalisation) Institut National de l’Audiovisuel

International Conference
From One Screen to Another: The Mutations of the Spectator

1.
Throughout the last century, the movie screen has changed (in size, in format), which has fundamentally changed the art of mise-en-scene, and with it, the relationship of the spectator to the representation. When television appeared, the potential and the limits of the “small screen” were questioned, and the art of film, especially fictional film, was redefined by taking the context of reception into account. Today, productions created for even newer screens experiment with both mise-en-scene and forms of narration and seem largely dictated by novel contexts of reception (the ways of addressing the Internet user-viewer in a web series, for example). Furthermore, in a museum, some films are exhibited to the gaze of a mobile visitor-viewer.

This gives rise to some potential questions:

What does it mean to be a spectator/viewer of movies, of television, or of the web? (Simultaneously, what does it mean to be spectator of a particular genre: fiction, documentary, etc.)?
How can the spectatorial postures implied by each of these formats –themselves variable– be categorized?
How can we, in each case, think about the articulation between the position of the spectator and narrative or aesthetic invention.

2.
Our experience as spectator changes depending on whether we see a film projected on a big screen, broadcast on television, or shown from the web, whether streamed from an Internet subscription site, or downloaded to be watched on a TV, computer, or tablet screen. Similarly, watching a web series that is being shown on television or projected on a big screen at a première creates a new perspective from which to view the production. In this movement between platforms, the border between the producer and broadcaster and the spectator is blurred to the point that their respective roles are merged. The spectator’s role is transformed in the new map of viewing experience, whether it be by uploading movies pirated from the theatre or from a Blu-Ray disk, by being invited to try watching a new network (or Netflix) show, by reading comments on social media that try and predict the content of future episodes, or by the alteration of a show’s dialogue or setting. With this migration of films, televised series, or web series, the relationships that spectators create and maintain with the works and their creators change: they become cult objects that fans collect, explain, or comment on. However, they are also objects that are at risk of losing their aura when they change platforms.

This provides a second line of questioning:
How, beyond the “convergence of screens”, can we think about the concurrence and divergence of devices?
What does this movement between platforms change in the experience of the cinema, of television, and of the web?
More generally: from one screen to another, what is the role of the spectator?

Scientific Committee :

Jean Châteauvert (Université du Québec à Chicoutimi), Gilles Delavaud (Université Paris 8), Jean-Pierre Esquenazi (Université Jean Moulin Lyon 3), André Gaudreault (Université de Montréal), Marie-Françoise Grange (Université Jean Monnet Saint-Etienne), Jacques Guyot (Université Paris 8), François Jost (Université Sorbonne Nouvelle Paris 3), Denis Maréchal (Institut National de l’Audiovisuel), Roger Odin (Université Sorbonne Nouvelle Paris 3), Jean-Michel Rodes (Institut National de l’Audiovisuel), Maria Tortajada (Université de Lausanne).

Date and Location:
Institut National de l’Audiovisuel, Paris, May 21-23, 2014

Proposals (title, 20 lines/300 words, brief bio-bibliography) should be sent, before November 30, 2013, to:
Jean Châteauvert Jean_Chateauvert@uqac.ca
et Gilles Delavaud gilles.delavaud@univ-paris8.fr

Over 13 millions records relating to film, television and radio accessed via pioneering search environment

British Universities Film & Video Council Media Release 

An innovative ‘all-in-one’ search engine allowing users to access nine online databases, containing more than 13 million records, relating to film, television and radio content has been launched on June 16 by Royal Holloway, University of London (RHUL) and the British Universities Film & Video Council (BUFVC). 

The BUFVC federated search environment will allow researchers to search all collections from a single entry point and easily view collated results through a clean design and user-friendly icons.  The interactive online research tools offer ‘human-friendly’ result filters, intelligently generated ‘related records & searches’, and have a detailed user history and export function.

Increasing quantities of archive film, television and radio content are available, but the content is usually delivered as stand-alone collections, with users needing to know where to look before they begin their research.  The BUFVC federated search environment will transform moving image and sound resource discovery by replacing the need for researchers to locate and access various databases and collections through multiple channels. 

The BUFVC federated search environment benefited from extensive user testing by researchers, teaching support staff, librarians and academics. The multi-purpose search engine and interface will be released under an open source licence this summer.

The BUFVC federated search environment is the result of a collaborative project between the British Universities Film & Video Council (BUFVC) and Royal Holloway, University of London.  The research project was funded by the Arts and Humanities Research Council (AHRC) under the Digital Equipment and Database enhancement for Impact programme.

The BUFVC federated search environment can be found at http://beta.bufvc.ac.uk/

ERT becomes an associate partner in EUscreen

Ellinikí Radiofonía Tileórasi (ERT), the Greek state broadcasting company has committed itself to EUscreen by becoming an associate partner. The audiovisual archive of ERT will contribute some of their rich content from Greek television. ERT is the second content provider from Greece, the other one, the Hellenic National Audiovisual Archive is a consortium partner of EUscreen. Together they provide access to the audiovisual treasures of Greece.

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