Call for Papers on the Hidden Professions of Television

Television Transmitter Van 1954

Picture shows a transmitter van on a remote site in the heart of the West Country. Publisher / Broadcaster: BBC (British Broadcasting Corporation). Broadcast date: 01/01/1954.

VIEW, the Journal of European Television History and Culture,  is the first peer-reviewed multimedia e-journal in the field of television studies. The theme of the fourth issue is Hidden Professions of Television, which can be interpreted broadly within the European television context. The issue seeks to shine a light on the ‘behind the scenes’ activities of television and their hidden, often unrecognised and uncelebrated personnel and processes.

Call for Papers: Hidden Professions of Television

VIEW Journal of European Television History and Culture, Vol. 2, Issue 4
Deadline for abstracts: May 1st, 2013

Offering an international platform for outstanding academic research on television, VIEW has an interdisciplinary profile and acts both as a platform for critical reflection on the cultural, social and political role of television in Europe’s past & present and as a multimedia platform for the circulation and use of digitized audiovisual material. The journal’s main aim is to function as a showcase for the creative and innovative use of digitised television materials in scholarly work and to inspire a fruitful discussion between audiovisual heritage institutions (especially television archives) and a broader community of television experts and amateurs. In offering a unique technical infrastructure for a multimedia presentation of critical reflections on European television, the journal aims at stimulating innovative narrative forms of online storytelling, making use of the digitized audiovisual collections of television archives around Europe.

For the issue on Hidden Professions or Television, we welcome contributions that may engage across a wide range of selected organisational, administrative or technical activities that have played their understated, invisible parts in the historical formation of television: from aspects of TV continuity for instance, to television outside broadcast management, TV retailing or manufacture, television music or the TV weather forecast. These indicate some of the gaps that this issue seeks both to fill and to explore.

Topics

Proposals are invited on (but not limited to):

  • Personnel involved in all aspects of television, from technicians, production staff, editors to preservationists, administrative staff or media managers
  • ‘Behind the scenes’ activities across the whole spectrum of television broadcasting, including organizational, administrative and technical activities
  • ‘The making of’ understudied TV programmes like the weather forecast
  • Services associated to television consumption, such as TV retailing, manufacturing or repair services
  • Practices that focus on preserving the content (film, video or audio) and making it available for reuse
  • Material artifacts used in television production or post-production

Submission info

  • Contributions are encouraged from authors with different kinds of expertise and interests in television broadcasting, from researchers to television professionals, to archivists and preservationists.
  • Contributions can be in the form of conventional articles, illustrated commentaries or photo-essays.
  • Paper proposals (max. 500 words) are due on May 1st, 2013. Submissions should be sent to the managing editor of the journal, Dana Mustata.
  • Articles (2-4,000 words) will be due on September 1st, 2013.
  • For further information or questions about the issue, please contact Tim O’Sullivan and Andy O’Dwyer, guest editors on this issue.

Hidden professions on EUscreen

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Transnational Mediascapes Conference

CALL FOR PAPERS – Deadline for applications: February 28 th, 2013

In recent years, quite some progress towards a transnational point of view on historical processes and on contemporary developments has happened in the fields of television and sound studies – both finding shared theories, methodologies, and analytical tools, and identifying useful case studies and histories.

The conference Transnational Mediascapes: Sound and Vision in Europe will take place at the Department of Media and Performing Arts of the Catholic University of Milan on May 14th-15th, 2013. The conference is organised in association with Ce.R.T.A. – Centro di Ricerca sulla Televisione e gli Audiovisivi and ALMED – Alta Scuola in Media, Comunicazione e Spettacolo. Abstracts are invited for contributions to the two main topics of the conference:

Day 1: Transnational Television: Towards a Comparative TV History
Day 2: Transnational Soundscapes: Sound and the Media in Europe

Media studies have been forced by convergence, digitization and globalization to look beyond the traditional structure of national media systems, histories and habits, and to begin to analyse their phenomena according to a wider, and more complex, point of view. On one side, they have started to reconstruct the global flows of information and entertainment, the basis of a “mainstream culture” that unifies – at least partially – different geographical, political, social and cultural areas. On the other, they have begun to follow media products and trends in their complex paths across various countries and macro-regions, underlining both the differences and the deep similarities in shapes and meanings, in production processes as well as in consumption practices.

Day 1 – Transnational Television: Towards a Comparative TV History

Università Cattolica del Sacro Cuore, Milan, May 14th, 2013

Following the comparative approach to European television established by recent works as Jonathan Bignell and Andreas Fickers’ A European Television History (2008) and Jérôme Bourdon’s Du service public à la télé-réalité. Une histoire culturelle des télévisions européennes (2011), the focus on trans-nationality in television is one of the most compelling and current challenges for TV studies. If the medium is still deeply national in many aspects, in fact, digitization and globalization include TV into wider multi-national exchanges of ideas, formats, programmes, genres, trends, and also viewing practices.

Confirmed keynote speakers: Jérôme Bourdon (Tel Aviv University), John Ellis (Royal Holloway, London), Peppino Ortoleva (University of Turin). There will be also the presentation of the latest issues of View. Journal of European Television History and Culture and Comunicazioni sociali.

Abstracts are invited for contributions to the conference that seek to compare television histories, genres, trends, production, and distribution practices across different countries and regions, in Europe as well as in the rest of the world, offering a wide approach on methods, theories and case histories.

Topics can include:

  • The (im)possibility of a transnational history of television;
  • Definitions and methods for the comparative approach;
  • Public Service Broadcasting, Commercial TV and Pay TV across different countries;
  • Logics of broadcasting in different countries;
  • Production practices in different countries;
  • Scheduling practices in different countries;
  • TV brands in different countries;
  • Genre definitions and redefinition in different countries;
  • Textual evolutions in different countries;
  • Consumption practices in different countries;
  • Transnational circulation of TV products;
  • Production and consumption macro-areas (i.e. European Community, English-speaking countries);
  • Original research findings on single case histories across two or more nations.

Scholars from all areas of TV and media studies are invited to submit proposals for contributions. Each speaker will have about 20 minutes of speaking time. Proposals (250 words, written in English, French or Italian), along with short biographical notes and key bibliographical references, are due by February 28 th. Submissions should be sent to Attilia Rebosio. Notifications of acceptance will be sent no later than March 10 th.

Day 2 – Transnational Soundscapes: Sound and the Media in Europe

Università Cattolica del Sacro Cuore, Milan, May 15th, 2013

In post-WWII Europe, popular culture began to relate to a wide range of mediatized practices, at the centre of which the growing music industry essentially revolutionized the media- and soundscapes we live in. This already convergent network expressed a wider social change towards modernity, mobility, new gender relations, that could also be felt as a generational shift. For us today it seems likely to have been the place for the building of individual and collective life histories, allowing an interpretation in terms of personal and collective memories and cultural heritage.

In order to begin a reconceptualization of such cultural practices, we are in need of more information concerning the historical background, the modes of production and the industrial strategies, the textual and paratextual output and the patterns and ways of consumption that characterized the crucial encounter between audio-visual media and popular music, gathering different methodological perspectives as much as comparing different national or transnational trajectories.

As a consequence, the aim of this symposium is to explore from a comparative perspective, European popular culture in its crucial journey towards mediatization from 1945 to the Seventies, as an exemplary trajectory for its seemingly excessive foregrounding of music and sounds within the national film, radio and television cultures and the transnational mediascape. Topics of papers may include:

  • popular music and media industry
  • European Media industry vs American media industry
  • amplification and high fidelity;
  • audiovisual performance and the canonization of popular forms;
  • national/transnational pop music and culture;
  • popular music in film, radio and television;
  • cross-media singers and performers
  • stardom and fandom.

Confirmed keynote speakers are: Franco Fabbri (University of Turin), Andreas Fickers (Maastricht University), Wolfgang Mühl-Benninhaus (Humboldt Universität Berlin). Scholars from all areas of media and popular music studies are invited to submit proposals for contributions. Each speaker will have about 20 minutes of speaking time.

Proposals (max. 250 words, written in English, French or Italian), along with short biographical notes and key bibliographical references, are due by February 28 th. Submissions should be sent to Attilia Rebosio. Notifications of acceptance will be sent no later than March 10 th.

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.

Researching Film and Television Through the Archive

The National Film and Sound Archive's collection contains approximately 1.7 million collection items.

The one-day multi-disciplinary symposium Researching Film and Television Through the Archive, jointly hosted on November 9th 2012 by University of Warwick’s Department of Film and Television Studies and the Institute of Advanced Study, will explore the practices and implications of researching film and television through the archive.

Making the archive the basis of a project or incorporating archival research into an existing project can be an insightful, rewarding, and frequently also a frustrating experience. The symposium will offer a space for archival researchers from across disciplines to share practices, methodologies and experiences of using different types of archives to research film and television texts, contexts and histories.

Call for Contributions

Abstracts are invited for contributions that seek to further understand the possibilities and boundaries of conducting archival research. Contributions can take the form of a 20 minute paper – outlining research ideas related to the themes of the symposium – or a 10 minute presentation – discussing the practical, methodological or scholarly implications of using archival research as an aspect of film and television research.

Contributions are particularly welcome in the following areas:

  • Archival research methodologies
  • Why do archival research?
  • The allure of the archive
  • Practical aspects of using archives
  • Archiving policy and practice
  • The possibilities of the archive
  • The limits and limitations of archival research
  • The archive, impact and the REF

Abstracts (max 200 words), along with a short biographical note and a specification of the type of contribution you wish to make, are due by Monday October 8th 2012. Please send your abstract to Richard.wallace@warwick.ac.uk .

 

Reminder: European TV Memories – Call for papers

Image by asleeponasunbeam

Reminder: deadline is September 6th, 2012

CALL FOR PAPERS

Journal of European Television History and Culture

Vol. 2, Issue 3: ‘European TV Memories’

The Journal of European Television History and Culture (http://journal.euscreen.eu) welcomes paper proposals for its third issue dedicated to ‘European TV Memories’ and guest-edited by Jérôme Bourdon (Tel Aviv University) and Berber Hagedoorn (Utrecht University).

The journal is the first peer-reviewed multi-media e-journal in the field of television studies. Offering an international platform for outstanding academic research on television, the journal has an interdisciplinary profile and acts both as a platform for critical reflection on the cultural, social and political role of television in Europe’s past and present as well as a multi-media platform for the circulation and use of digitized audiovisual material.

The journal’s main aim is to function as a showcase for a creative and innovative use of digitized television material in scholarly work, and to inspire a fruitful discussion between audiovisual heritage institutions (especially television archives) and a broader community of television experts and amateurs. In offering a unique technical infrastructure for a multi-media presentation of critical reflections on European television, the journal aims at stimulating innovative narrative forms of online storytelling, making use of the digitized audiovisual collections of television archives around Europe.

The theme of third issue of the journal, due for publication in April 2013, is European TV Memories. The editors welcome two kinds of contributions:

  • scholarly articles (historical, sociological or anthropological with a European focus) of 4,000 words
  • discoveries: journalistic essays (2,500 words) which include audiovisual sources as a central component andreflect on the practical challenges of doing television research in an archival or academic environment (e.g. case studies, new collections, news from archives, audio/video interviews).

European TV Memories

The phrase “European TV Memories” can be understood in many ways, of which we can suggest three:

  • Memories as remembering: memory as content actually remembered and shared (especially in contexts and events triggered by the researcher (focus groups, life stories).
  • Memories as policy: as the way the institutions of European television have tried to engineer, generate, support, and disseminate specific memories (at least, potentially, collective memories, considering the reach of the medium).
  • Memories as text: as they can be inferred from the close analysis of text as vectors of memory.

Although there is no strict correlation, different disciplines have generally focused on different understandings of memory. “Memory as text” is frequent among historians and philosophers, “memory as remembering” is analyzed by social psychologists and sociologists, while “memory as institution” is connected to a more political perspective (political sciences, but history as well).

We invite contributions across disciplines and across different conceptions of memories. Similarly, we would appreciate contributions, which study television memories beyond the genres usually emphasized in the study of memory (news and current affairs and historical programmes). TV series, advertisements, entertainment, can be considered as well.

Finally, three aspects cannot always be limited strictly to the medium of television, which interact with other medium, either “old” or “new”. The memories of news events, for a given viewer/citizen, cannot be isolated from a news culture, which includes the press, once the newsreels, today online news. The memory of cinema is built, to a large extent, through television. This is why we will invite contributors to include other media, especially new and digital media, in their analysis, although the focus should be on television.

Proposals are invited on (but not limited to) the following suggested topics:

Television as an institution of memory

  • the policies of memory in and on television
  • event memories: public/private memories of televised media events
  • commemorations and anniversaries
  • reruns and repetition
  • nostalgia programming and TV memorabilia

Preservation and erasure

  • the impact and challenges of accessing TV history and memory in the digital age, considering a.o.: online access and storage, copyright issues, open source archiving, digital contextualization, user generated data
  • the TV user as archivist
  • the future of TV memory

New cultures of remembering and forgetting (via) television

  • the impact and challenges of new and digital technologies
  • new cultures of viewing and user participation, inside the household (wallpaper memories) and outside
  • the gendering of television technologies and experiences
  • transnational TV memories

Researching television memories

  • the methodological debate: archives, life-stories, political statements

Paper proposals (500 words) are due on September 6th, 2012. Submissions should be sent to the managing editor of the journal, dr. Dana Mustata (journal@euscreen.eu). Articles (2-4,000 words) will be due on December 15th, 2012.Please consult the journal’s Author Guidelines. For further information or questions about this issue, please contact Jérôme Bourdon and Berber Hagedoorn.

CFP: Television for Women

Television for Women: An International Conference: Call for Papers
University of Warwick, Coventry, UK, 15th-17th May 2013
Keynote Speakers: Charlotte Brunsdon, Christine Geraghty, Kathleen Karlyn and Lynn Spigel

At the culmination of the AHRC-funded project, A History of Television for Women in Britain, 1947-89, the project team (Dr. Mary Irwin, Dr. Rachel Moseley and Dr. Helen Wheatley (Warwick), and Hazel Collie and Dr. Helen Wood (De Montfort)) are organising a three day conference which seeks to open up and internationalise debate about the past, present and future of television programming for women.

Whilst television has traditionally been identified as a ‘feminised’ medium, because it is apparently ‘domestic, passive and generally oriented to consumption, rather than production’ (D’Acci, 2004), there are still significant gaps in our knowledge of the relationship between television and women. The team is therefore interested in hearing from scholars about television programming made for and watched by women viewers throughout the history of broadcasting and in the contemporary period, and would welcome both other researchers writing about the UK and those offering comparative work overseas.

Whilst the project has worked to fill in some of the some of the gaps in the history of women’s television, outlining significant moments in their research period, specific programme types, genres and scheduling slots which have become significantly marked as feminine, they know that there are many more gaps to fill, and hope that this conference will be a further step towards this.

Potential topics

  • Rethinking broadcasting histories: where have women’s programmes and viewing practices been left out?
  • National histories of programming for women. Is ‘TV for Women’ a global phenomenon?
  • Female audiences: speaking to them, mapping their tastes and interests.
  • Institutional/production perspectives on addressing the female viewer: how have broadcasters envisaged ‘what women want’?
  • Questions of gender and genre.
  • Representation of women and women’s concerns and cultural competences on television (as addressed to the female viewer).
  • Feminist (and post-feminist) address and representation on television.
  • Significant programme makers/teams/production companies in the production of television for women: is TV for women TV by women?
  • Channels for women in the multichannel age: Lifestyle, Living, etc.
  • Archiving issues that relate to women’s TV culture.
  • Analyses of magazines and TV ephemera (listings guides, women’s magazines, promotional materials, etc.) and their address to the female viewer.
  • Other media, other screens: histories of women’s radio, the female viewer and social media, women viewers on multimedia viewing platforms, which consider their connection to television etc.
  • Understanding female TV fandom.
  • The question of generation: how do women remember and relate to television differently at different life stages.

Participate

Abstracts of c.250 should be sent to Helen.Wheatley@warwick.ac.uk by 12th October 2012. Pre-constituted panels of three speakers may also be submitted, and should include a brief panel rationale statement, as well as individual abstracts.

CfP: Moving at Different Speeds

Call for papers for Comunicazioni sociali, I, 2013

The Commercialization of Television Systems in Europe and its Consequences

Monographic issue. Accepted languages: English, Italian, and French
Issue Co-editors: Massimo Scaglioni, Luca Barra (Università Cattolica di Milano)

One of the most compelling and current challenges for television studies is to work on the edge of national and international boundaries. Such work must attempt to scrutinize the  historical evolutions of the different television national systems in the light of broader, supranational trends (Bignell-Fickers 2008; Bourdon 2011).

Following a comparative approach, and in order to better understand the developments of European television, the focus on commercialization is without any doubt productive: the entry of private and adbased players in TV national markets is a major phenomenon that has affected European broadcasting systems at different times and speeds, with complex consequences. Starting from the strong tradition of public service broadcasting and, in many cases, of monopoly, European television has experienced the birth of commercial TV at different points of its history, from the first experiments in the UK during the Fifties until the articulated – and often contradictory – process of deregulation and “liberalization” that occurred in many continental countries from the Seventies, as well – in Eastern Europe – along the Nineties.

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.

Call for Papers

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. These can include:

  • Early commercial broadcasting in Europe, both as lasting or “experimental” experiences;
  • Definitions and implications of TV commercialization;
  • Consequences of TV commercialization on a social and cultural level;
  • Consequences of TV commercialization on a political and economical level;
  • TV commercialization and changes in the logics of broadcasting;
  • TV commercialization and production practices;
  • TV commercialization and scheduling practices;
  • TV commercialization and genre (re)definitions;
  • TV commercialization and textual evolutions;
  • TV commercialization and its consequences on the broader media system;
  • TV commercialization and consumption practices;
  • TV commercialization and changes in audience conceptualization;
  • Theoretical approaches on TV commercialization;
  • Original research findings on single case histories and nations.

Paper proposals (250-300 words, in English, French or Italian), along with short biographical notes and key bibliographical references, are due by October 31th, 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.

Accepted articles (3500-5000 words, in English, French or Italian) will be due on January 31th, 2013, and will be subject to a double-blind peer review. The issue of Comunicazioni sociali will be published in April/May 2013.

About Comunicazioni sociali

Founded in 1973, Comunicazioni sociali is a journal that features both monographic and miscellaneous issues, dealing with critical questions pertaining to studies of the performing arts, film, radio, television, journalism, advertising and new media. Founded on an interdisciplinary approach, the journal has since its inception promoted rigorous debates on media content, representation and
consumption in terms of theory, history and critical analysis. The journal has enhanced exchanges with academic institutions, research centres, European networks and prominent scholars, by hosting both theoretical elaborations as well as empirical findings. Since 2009, the journal has adopted the double-blind peer review system and enhanced the international profile of its editorial board, including scholars from European and extra-European countries.

CfP: FIAT/IFTA Television Studies Seminar – Deadline 25 May

The International Television Studies Seminar, hosted by the British Film Institute at its South Bank premises London on September 28th 2012, will present academic papers based on research conducted in FIAT/IFTA member archives and illustrated by extracts provided by those archives.

 

Paper proposals should include a brief abstract and details of arrangements made with the television archive where the research will be conducted.  Participating FIAT/IFTA member archives will provide research facilities and extracts on DVD free of charge.  The archives represented in the Television Studies Commission are all participating.  These are:

  • BFI (British Film Institute) National Archive, London, UK
  • INA (Institut National de l’Audiovisuel), Paris, France
  • Beeld en Geluid, Hilversum, Netherlands
  • Library of Congress, Culpeper, Va, USA
  • RTÉ (Radio Telefís Éireann), Dublin, Eire

Other FIAT/IFTA member archives may participate upon request.

Contact persons for proposals

Initial enquiries should be made to the appropriate member of the Television Studies Commission and completed proposals sent to the same person by May 25th 2012.  These are:

  • For participants from the UK : Steve Bryant, BFI (steve.bryant@bfi.org.uk)
  • For participants from France and other French-speaking countries: Claude Mussou, INA (cmussou@ina.fr)
  • For Dutch/Flemish speakers: Bert Hogenkamp, Beeld en Geluid (bhogenkamp@beeldengeluid.nl)
  • For US participants: Mike Mashon, Library of Congress (mima@loc.gov)
  • For Central and Eastern European participants and members of the European History Television Network: Dana Mustata, University of Groningen (D.Mustata@rug.nl)
  • For Irish participants: Liam Wylie, RTE (Liam.Wylie@rte.ie)

All other potential participants should send their proposals to Steve Bryant, who will attempt to connect them with the appropriate FIAT/IFTA member archive.

Proposal administration

Participants will be confirmed in early June.  The Seminar language will be English.

Proposals can cover any aspect of television history or practice, though the following topics are suggested:

  • In the context of the London Olympic Games our main theme will be Sport on Television, including how sport drives the development of television technology
  • Media events, including news: the role of technology and viewing platforms and the aspect of collective memory

Registration details for the Seminar will be advised in due course at http://www.fiatifta.org/

Links

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