Newest Exhibitions Celebrate World Day for Audiovisual Heritage

In honour of last week’s World Day for Audiovisual Heritage, EUscreen released – one year after launching the portal – a new selection of exhibitions, which explore politics, history, culture, controversy, scandal and violence.

Communist Romania

The newly curated TVR exhibition on Communist Romania offers an insight into aspects of this society captured on television. It includes footage of the building projects which were so dear to Ceausescu’s heart, the importance of youth organisations under the communist regime and the cult of personality which surrounded the dictator and his wife.
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Exhibition created by Irina Negraru, Gabi Fiter, Denisa Badea, Irina Bordeianu and Mihai Ciobanu.

The Dutch Dream Machine

Discover more about the history of Dutch broadcasting and the growth of television technology in the latest fascinating exhibition by Sound and Vision. This exhibition details how television operated and developed with the socio-political ‘pillarisation’ of Dutch society and demonstrates how debates about television addressed the function and purpose of the new medium.
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The Dutch Dream Machine. Exhibition curated by Rianne de Neef, Netherlands Institute for Sound and Vision/Utrecht University.

Taboo and Controversy

The exhibition Taboo and Controversy has been curated using material from all the EUscreen content providers and covers a range of topics including controversial television programming, extreme content, the first nudity on television and debates about sexuality, drugs and promiscuity.
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Taboo and Controversy. Exhibition curated by Sian Barber, Royal Holloway, University of London, Dana Mustata, University of Groningen and Berber Hagedoorn, University of Utrecht.

More to come

These new exhibitions will soon be joined by a second exhibition from RTE which offers a political and social introduction to the period of ‘the Troubles’ in Ireland. Video footage and stills of interviews with politicians and activists, news reports of violent activity and discussions about the political and economic background combine to create a thoughtful and sobering account of this complex period. Explore these new exhibitions and many more on the EUscreen portal:

World Day for Audiovisual Heritage

World Day for Audiovisual Heritage 2012

Storified by · Mon, Oct 29 2012 03:00:50

Today is World Day for Audiovisual Heritage: find an event here via @iasa_web #wdavh2012Grace Lile
To celebrate the world day for AV heritage, we release a new series of Virtual Exhibitions #wdavh201EUscreen
World Day for AudioVisual Heritage | International Association of …27 October 2012. Audiovisual heritage memory? the clock is ticking. This is the official website, hosted by IASA on behalf of CCAAA (Co…
The theme for 2012 World Audiovisual Heritage Day is “Audiovisual Heritage Memory? The Clock is Ticking.”: The …
RT @naagovau: Painstaking work…film tech in our lab hand cleaning 16mm film. World Day for Audiovisual Heritage 2012 #archives Chalmers
The @EuropeanaEU Pro Blog posted this nice review about the #EUscreen project #wdavh2012 #heritage #archive #longreadsEUscreen
2" video tapeDRs Kulturarvsprojekt
Discover the @TV3 Televisió de Catalunya’s archive from the inside and see their archivists at work: #wdavh2012EUscreen
#fiatifta – the rundown on 2012 @UNESCO World AV Heritage Day: The clock is ticking. #WorldHeritage #archives @IASA_webNationalArchivesAus
World Day for AudioVisual Heritage is tomorrow, Oct 27. Read about what it means for the IU Libraries Film Archive. Film Archive
Problem I’ve noticed: How might one pronounce the acronym for World Day for Audio Visual Heritage?! Proposal #1: (h)wə•däv #wdavh2012AVPS
MT @luis_paulo: How to cite a clip, podcast or DVD extra?: #AVcitation #wdavh2012 #mediastudies cc @bufvcEUscreen
#WDAVH is tomorrow & we celebrate at @MuseumModernArt – NYC archives share political content, everyone gets free buttons! #UNESCOAMIA Students at NYU
16mm NewsarchiveDRs Kulturarvsprojekt
3 recomendaciones para dia mundial del patrimonio audiovisual: 1. portal de los casi 30 años de @tv3cat #wdavh2012Daniel Condeminas
3 recomendaciones para celebrar dia mundial patrimonio audiovisual: 2. nuevo portal sobre el Mediterráneo #wdavh2012Daniel Condeminas
3 recomendaciones para celebrar el dia mundial del patrimonio audiovisual: 3. portal histórico TV europea: #wdavh2012Daniel Condeminas
16mm film reelDRs Kulturarvsprojekt
1930s home movies from Mexico, preserved 2012 at the Archives of American Art #PatrimonioAudiovisual #wdavh2012Megan McShea
New blog post: Listen up and watch out! Today is World Day for Audiovisual Heritage: #AV #Heritage #UNESCOuwmediacenter
More World Day of AV Heritage Action: @beeldengeluid holds its bi-annual Week of Dutch television #wdavhEUscreen
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World Day of Audiovisual Heritage today #AV #heritage >focus on @springbokradio by @SABCMediaLib Radio Archive

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

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.
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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).
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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.
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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.

Related Posts

Exhibitions on Civil Rights, Public Broadcasting, Language and Money

The EUscreen virtual exhibitions were launched during August with 10 exhibitions exploring a range of topics from European identity to Television History and much more. Some exhibitions include materials from all partner archives, while others have been curated by the archives themselves and offer expert narratives on their own content. The first exhibition series saw contributions from RTV Slovenia on the history of the broadcaster, Sound and Vision in the Netherlands on architecture, KB on Sportswomen and Swedish Television and an exploration of French TV History, provided by Ina.

We are now happy to announce a new batch of exhibitions. These new exhibitions include material from Ireland provided by RTÉ in their exhibition on civil rights, Deutsche Welle’s exploration of the Euro which covers the period from its introduction right up the current crisis, the exhibition from Televisió de Catalunya on the importance of Catalan language and culture and an examination of broadcasting in Flanders, curated by VRT, which suggests how the broadcaster has interpreted its role as a public service broadcaster.

All of these exhibitions plus a range of others that are curated from material on the site and cover topics such as food, fashion, culture and holidays can be accessed now. Go to the EUscreen portal or directly to the exhibitions page at to explore them all.

Exhibiting EUscreen

Created by Kati HyypäMore Context for Content

Over the past two and a half years, EUscreen has been sourcing all kinds of content and has worked closely with developers and designers to make this rich and varied collection accessible online. The EUscreen portal currently hosts over 21,000 items which relate to television history and the history of Europe in a collection that includes items from the earliest days of the medium (and before) right up until the present.

Contributions from 22 different broadcasters and archives from across Europe have been brought together and made freely available in one one single portal. Well, two portals actually – all of these items are also being made available on Europeana, where they sit amongst almost 22 million cultural objects from across Europe.

Exploring Television History

Within EUscreen our aim is to make this material available to as wide a range of interested users as possible. To do so, the partners in the consortium have been hard at work to realise the next step in the project: making the collection accessible through online exhibitions and suggesting ways for users to engage with the EUscreen material. We have been creating a virtual exhibition builder that provides a set of tools for creating online exhibitions which can feature various media such as video, audio, still image and text. A first version of these tools will soon be part of the EUscreen portal. Recently, Daniel Ockeloen from Noterik and Sanna Marttila from AALTO/TAIK gave a presentation at the Europeana gathering in Mykonos. We’ve posted it here to give you an idea about what to expect.

[slideshare id=13134913&doc=sannadanielmykonostalk-120530095559-phpapp02]

An Online Exhibition Space

Designing the VE tools has included various activities, such as workshops in which collaborative hands-on design methods have been used for generating ideas and improving designs. Virtual Exhibition builder prototypes have also been developed and tested incrementally in order to reflect the needs of the different users and to improve the ease of use. The Virtual Exhibition tools have been developed in collaboration with various EUscreen consortium partners. The technical development and user interface design is the brainchild of Noterik and TAIK, who have worked closely with other partners, such as the Comparative Virtual Exhibition curators Dr Dana Mustata from Groningen University and Dr Sian Barber from Royal Holloway, University of London as well as colleagues from the British Universities Film and Video Council.

We are currently piecing together the final elements of the first exhibitions which will be made available on the portal very soon. EUscreen archive partners are also curating their online exhibitions to present focused explorations into television history. Watch this space to be the first to know when new exhibitions appear!

The EUscreen content selection policy and the future user

EUscreen will provide access to a critical mass of audiovisual content (>30,000 items) and it’s metadata, covering the history of European television. With such a large amount of data, a content selection policy is essential to provide meaningful access. The EUscreen content selection policy has been developed in the first six months of the project and the final policy has been presented to the content providers during the Mykonos workshop in June. This policy will not only influence the work of the content providers, but also the user experience.  We’ve invited Sian Barber, Postdoctoral Researcher  from Royal Holloway University of London (workpackage leader for WP3, content selection policies) to outline the content selection policy in more detail and to explain the benefits of such a policy for future users of the EUscreen portal.

The EUscreen project content selection policy is comprised of three strands: the 14 historical topics, content provider virtual exhibitions and comparative virtual exhibitions. The aim of this ambitious, multi-strand approach is to offer something sophisticated and multi-layered to draw upon the strengths of the various content providers. The approach will allow archives to showcase material from within their own collections which fall outside the parameters of the historical topics. Yet what are the implications of this policy for users, and what benefits does it offer to them?

Site users will be able to see the outcomes of the content selection policy within the 14 historical topics which will account for 70% of content in EUscreen and a great deal of which will be mapped from Video Active. However, the innovation with EUscreen is that each content provider will also contribute material to their own virtual online exhibition which will allow them to fully utilise material and content from their own archives. These individual exhibitions will account for 20% of EUscreen content and will allow each archive to play to its strengths and present the best of their material which has not been included within the 14 historical topics. Such an approach will enable content providers to support their own content with a range of still images, documentation and text. For the users, the individual exhibitions will highlight the diversity and breadth of material within the project and enable them to explore and examine the material and collections presented by individual archives and discover new information about the collections and their accompanying metadata.

Example of the content selection policy in Video Active

Perhaps the most innovative part of the content selection policy, both for users and for the project as a whole, is the decision to offer the final 10% of the content in the form of two comparative exhibitions. The topics for these exhibitions will be decided upon by a working group which comprises representatives from content providers, technology partners and academic partners. The topics selected could be a detailed consideration of TV history offering perspectives from different countries, or an in-depth focus on a single concept, such as minorities, or outsiders. Each content provider will contribute 5% of their total content to each comparative exhibition and the content itself will be shaped and developed by an editorial and curatorial team in order to pose questions and raise key issues. For example, a comparative exhibition on the topic of the European Union might compare material from Poland, Ireland and the Netherlands and examine reactions to joining the European Union. The exhibition could also utilise audio visual and textual material to examine what being part of the European Union means for different countries and what this in turn suggests about patriotism, nationalism and European identity. Such an exhibition will offer to the user a range of information, but will also link the content to broader discursive issues, topics and themes.

Through this innovative content selection policy and multi-strand approach, EUscreen will cater to a variety of end users, offering accessible audio visual content to teachers, lecturers, researchers and students but also drawing out comparisons between different collections, items, content providers and countries. These comparative elements, along with the opportunity offered for individual archives to showcase their material, moves EUscreen beyond a site simply for accessing information and indicates a new way for audio visual material to be curated online. Users will not simply be able to access and view the material but to respond, engage and contribute to the material and to the wider issues and questions raised by the diverse site content.

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