Reminder: European TV Memories – Call for papers

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Reminder: deadline is September 6th, 2012


Journal of European Television History and Culture

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

The Journal of European Television History and Culture ( 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 ( 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.


Abstracts of c.250 should be sent to 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.

Programme Announcement: Final EUscreen Conference

EUscreen, the best practice network for Europe’s television heritage, organises its third and final international conference on Television Heritage and the Web. The conference will take place in Budapest on 13 and 14 September 2012. The programme consists of two workshops, a plenary session with keynotes and case studies by renowned experts in the field.

Television Heritage and the Web

Date: 13-14 September 2012
Location: ELTE University, Budapest, Hungary

Attendance is free, but registration is required at:
For travel, accomodation and much more info go to the conference info page under Events

Nationaal Archief / Spaarnestad Photo (Flickr Commons)

Conference programme

Today, most broadcasters devote resources to web-based forms of television, both in terms of new programming and older programme materials. Broadcast archives are becoming increasingly important as ‘old’ television content has the potential to attract online users. As a result, the major question for audiovisual archives, scholars and media professionals is: What does the current shift to online forms actually imply for television heritage?

The conference Television Heritage and the Web will discuss and analyse the opportunities and challenges of the current media changes. The conference includes a range of international experts and a workshop titled EUscreen best practice applications showcase, which explores the exploitation of broadcast material in the fields of learning, research, leisure/cultural heritage and creative reuse.

Confirmed speakers

  • Lynn Spigel (Northwestern University, USA)
  • Eggo Müller (Utrecht University, NL)
  • Richard Grusin (University of Wisconsin-Milwaukee, USA)
  • Jamie Harley (FR)
  • Irina Negraru and Dana Mustata (TVR, RO)
  • Aleksander Lavrencic/Katja Šturm (RTV Slovenija, SI)
  • Victoria Metzger/Xavier Jacques-Jourion (RTBF , BE)
  • Attila Nemes (Kitchen Budapest, HU)

Please go to for programme updates and make sure to register in time for this event.
For travel, accomodation and much more info go to the conference info page under Events.
You can also download the Press release EUscreen Budapest Conference 2012

EUscreen Portal Launched in celebration of UNESCO’s World Day of Audiovisual Heritage

EUscreen: Television heritage online

EUscreen is a unique showcase of Europe’s television heritage. The portal is officially launched today in celebration of UNESCO’s World Day of Audiovisual Heritage. On this year’s 5th Annual World Day, the theme is: Audiovisual Heritage: See, Hear and Learn. The theme corresponds with the aim of EUscreen to be a multimedia resource for the general public, pupils and scholars alike.

Major audiovisual archives in Europe have joined forces to offer unified access to the history of television in Europe. Thousands of video’s and images are available for free online consultation, and additional content is added on a daily basis.  The EUscreen portal has been accessible in beta testing mode since early 2011, but received an entirely new layout. It has been extensively tested and accounts for the needs of the various user groups EUscreen focuses on in the fields of education, research, and for the general public.

The portal provides a wide variety of functionalities to search and browse the collection, which can be used in different contexts such as curricula and research programmes, for remix, and for leisurely dives into popular history. Additional tools for curated exhibitions and an academic e-journal which researches significant trends in over 60 years of European television with the help of original programme sources will become available in 2012.

“With EUscreen we encourage users to actively engage with the history of Europe and the history of television regardless of the language and cultural boundaries. This is a great step forward to explore the role of television heritage in how we came to see ourselves and others in changing times”, says project co-ordinator Sonja de Leeuw.

EUscreen launches all over Europe

What follows is an overview of the press releases that have been published throughout the day and the launch events that are ensuing in the different partner countries. Do get in touch if you’d like to attend any of these launch events!

International Press Release: PR_EUscreenPortalLaunched_INT [doc]



  • Press release (Nl): VRT WAVHD 2011 [pdf]
  • Launch Event: Brussels, 23 November 2011.

Czech Republic:










United Kingdom:

  • Press Release 1: PR_EUscreenLaunch_UK [doc] 
  • Press Release 2:
  • Launch Event: The new EUscreen portal will be officially launched in the UK on the 2nd December 2012 by the BUFVC at their forum The Key to More Access, which will take place at The Geological Society in Piccadilly.  This event is organised and delivered by the BUFVC and will be attended by representatives of the EUscreen project from Royal Holloway, University of London and the BBC.

Television Archives Join Linked Open Data Movement

The EUscreen project has recently taken steps to expand the scope of its aim to provide unified access to large integrated digital collections related to European television history. By implementing the Linked Open Data principles and by signing the new Europeana Data Exchange Agreement, the materials that are made accessible through the platform have become more widely searchable, findable, linkable, and thus more connected to the world wide web, its users… and the machines that link them together. Information about EUscreen’s Linked Open Data Pilot can be found at

1. EUscreen opens up to Linked Open Data

On the EUscreen platform, 27 partners (broadcasters, archives and universities) select, curate and provide television materials from their rich vaults that together hold a great part of European audiovisual history. By mapping the schemata that underpin their content descriptions to the EUscreen metadata model, content providers ensure greater visibility and findability of their content in the public realm.
Much work has been done on uniformly processing the different metadata models to one central EBU Core-based model. This model ensures a level of uniformity that surpasses the scattered databases that the different institutions work with. The integrated collections are published on the EUscreen portal and from there on aggregated by Europeana.

With this centralised model in place, it was a relatively straightforward step to implement the Linked Open Data principles, which permit the interpretation and interlinking of the data to various sources outside of the EUscreen domain, and allow for a machine-readable level of access to the content. EBU Core provides mappings to all known audiovisual metadata standards, including the W3C’s Media Annotation ontology. The EBU Core ontology was used to formalise the metadata in the Resource Description Framework (RDF) format and publish them as Linked Open Data.

Johan Oomen, technical director of EUscreen, and Vassilis Tzouvaras, leader of the work package on portal architecture, wrote a paper on the installation of the Linked Open data model: Publishing Europe’s Television Heritage on the Web (PDF). In it, the authors describe how this fits in within the larger technical challenge of creating the different components that make up the EUscreen ingestion workflow. The paper describes the reasoning behind the workflow, the set-up and overview of the process and how these technical developments improve access to our shared television histories to students, teachers and the general audience. You can leave your comments at the end of this article contact us by e-mail for feedback. The authors would like to acknowledge EUscreen consortium partner EBU, specifically mr. Jean-Pierre Evain, for their work in the area of multimedia semantics and Linked Open Data, as their EBU Core Metadata Set has been used to ensure semantic interoperability within EUscreen and beyond.
The Linked Open Data implementation will be presented by Nikolaos Simou (Technical University of Athens, GR) on Thursday, September 29th at the International Workshop on Semantic Digital Archives, which is held in the framework of the International Conference on Theory and Practice of Digital Libraries in Berlin.

Publishing Europe's Television History on the Web from EUscreen

More information about EUscreen’s Linked Open Data Pilot can be found at:

2. EUscreen signs Europeana’s new Data Exchange Agreement

A second, and related, development is EUscreen’s recent signing of Europeana’s new Data Exchange Agreement, which ensures access and enlarged user involvement with the materials published on the platform. The agreement replaces the current Data Provider and Data Aggregator Agreements and governs what Europeana may or may not do with the data of the different aggregators through its web activities.

The Agreement will come into force on January 1, 2012, but EUscreen is proud to be at the forefront and one of the early adopters in this bold step forward for opening European cultural heritage to wide audiences.

From the Europeana office: The Europeana Data Exchange Agreement is the result of a year-long process of consultations with the whole network of content providers and aggregators contributing to Europeana. The results of these consultations and other documentation can be found on the Europeana Towards a New Agreement pages.

The major revision in this new agreement, is that the metadata provided by the Europeana aggregators will now be released under a Creative Commons Universal Public Domain Dedication. This is in line with the recommendations of the New Renaissance Report of the European Commission’s “Comité des Sages” and the promises of the Europeana Strategic Plan 2011-2015. It will revolutionize the sharing and linking of cultural information and place its producing institutions at the heart of discovery on the internet.

Conference update: Final programme announced

The Second EUscreen International Conference on Use and Creativity takes place at the National Library of Sweden, Stockholm, on September 15-16, 2011.
Attendance is free, but registration is required at

Conference programme final
After a first successful conference on the contextualisation of audiovisual material in October 2010, the network now organizes a second conference on use and creativity in the audio-visual domain.

After a few updates on speakers, which could be followed on the EUscreen blog pages at, the programme is now in its final stage and participants are encouraged to make their registrations and travel arrangements.

Highlights from the programme
The first day of the conference will present its participants with a varied mix of keynote lectures and case studies by renowned experts in the field. Lynn Spigel from Northwestern University will be speaking about analogue nostalgia, Dagan Cohen will talk about how the Upload Cinema initiative brings curated online video to the big screen and Paul Ashton will talk about the possibilities for online audio-visual media to push education forward and create a teaching platform for professionals.

Aubéry Escande from Europeana/The European Library, Kajsa Hedström from the Swedish Film InstituteJohan Axhamn from Stockholm University and Peter B. Kaufman from Intelligent Television will present different case studies. These contain means for encouraging user engagement on the Europeana portal, for providing online access to film collections through the Swedish filmarkivet website and for devising licensing solutions to the online dissemination of Europe’s cultural heritage.

Jérôme Bourdon will close the first day with a presentation of his research into global media and the Israeli-Palestinian conflict in his talk, which is titled “A case of cosmopolitan memory?”

The second day will consist of two workshop sessions. In the morning the topic of a user community will be tackled, focusing on how EUscreen services can be exploited in learning, research, leisure/cultural heritage and creative reuse.
Dana Mustata from Utrecht University will start the discussion with her talk on “Doing Television History outside the Box”, after which Pere Arcas from Televisió de Catalunya, Roland Sejko from Cinecittá Luce and Andreas Fickers from Maastricht University will present case studies in the learning, cultural heritage and research domains respectively.

The afternoon session will focus on funding opportunities and sustainable business models for the digitisation of audiovisual material.
Luca Martinelli from the European Commission will present an overview of funding opportunities at EU level. Marius Snyders from PrestoCentre, Catherine Grout from JISC and Martin Bouda from the Czech TV archive will present complementary case studies on this topic.

Updates & Registration

Please go to for programme updates and make sure to register in time for this event.


Download the full conference programme here!

Film archives showcase their collections: The European Film Gateway is online

In her report on the 24th International conference on History and Media in Copenhagen, Sian Barber mentioned the European Film Gateway which, in the meantime, has gone live and is now accessible at:

– Press release –

After nearly three years of preparation and development, the European Film Gateway – EFG –  is now online. The Internet portal to the digital collections of European film archives and cinémathèques offers free access to currently about 400,000 digital videos, photos, film posters and text materials. By September, the number of digital items will increase to 600,000 from 16 film archives.

“The European Film Gateway creates a central online access to Europe’s film heritage for the first time. Previously, this remarkable record of 20th century European cinema had been dispersed on different national platforms,” says Claudia Dillmann, director of the Deutsches Filminstitut, which co-ordinates the project. “Now the films and information about them are more accessible, not only to scholars, journalists and creatives, but also by a broader audience interested in film.”

“EFG also provides access to material in film archives that was hitherto hardly known, and some is now online for the first time,” says project manager Georg Eckes. These include unique magic lantern slide collections from France, erotic films made in Austria in the early 20th century, advertising films from Norway, newsreels from Lithuania and a comprehensive film poster collection from Denmark. Hidden treasures can be discovered from 15 European countries. Cinecittá Luce from Rome, for example, contributes not only a famous Italian newsreel collection reporting on important film-related events and persons, but also a fine collection of early films by great masters like Rossellini, Antonioni, Comencini, and other famous names of Italian filmmaking. An extensive collection of set photos to films of Rainer Werner Fassbinder contributed by the Deutsches Filminstitut will be available for the first time online from August on.

Users of the portal can search for people, for example Marlene Dietrich, but also by film title or keywords. They get an overview of related digital objects from the film archives which can be viewed directly in the portal. The portal always links back to the website of the relevant archives, and therefore also works as a search engine for selected digital holdings of European film archives.

IAMHIST 2011 Conference Report

The 24th International conference on History and Media took place this year in Copenhagen on 6th-9th July. EUscreen was represented by Dr. Sian Barber from Royal Holloway and Berber Hagedoorn from Utrecht University, both of whom delivered papers in the same panel at the conference. The theme of the conference was Media History and Cultural Memory and some of the papers given over the course of this four day event were particularly relevant to EUscreen.

IAMHIST report by Dr. Sian Barber & Berber Hagedoorn, MA.

The roundtable discussion which began the conference included representatives from the Imperial War Museum in London, the Holocaust Museum in Washington and the Danish Film Institute. Thomas Christensen from the Danish Film Institute discussed their current programme of digitisation and how their data is to be aggregated with Europeana. He highlighted the challenges of digitisation and the impact such processes have upon the original collections, for example the tensions between the contextualisation of content and the need for preservation. He also referred in passing to projects including EUscreen and the European Film Gateway as conducting similar kind of work.

Raye Farr from theHolocaust museum in Washington spoke about the way in which visitors engage with the museum collections and suggested the complexities for both live museums and online museum environments in meeting visitor and user needs. This is particularly relevant to the development of the Comparative Virtual Exhibitions within EUscreen, which will offer a unique user experience but will need to offer a coherent and simple narrative while at the same time addressing the diversity of material involved. She suggested that the role of museums is to preserve memory but wondered to what extent that could happen online and how the contested issues and boundaries of memory could be adequately addressed.

One of the most interesting papers was the presentation given about the Danish LARM Audio Research Archive. Bente Larsen from the University of Copenhagen is the project manger for this ambitious project which aims to place 1 million hours of Danish radio material online, covering 114 years of audio recording. This newly created digital archive faces many of the same issues as EUscreen – including issues of copyright, streaming and of providing access to cultural heritage. LARM aims to create a user-focused infrastructure which will benefit students and researchers and provide access to this material, but as yet it can only be accessed by users from within Denmark.

In the same panel, Heidi Svømmekjær (Roskilde University) was also discussing radio and in particular the problems and possibilities for re-entering the absent ‘object’ in the (digital) archive. Her case study was The Hansen Family, a programme that was broadcast from 1929 to 1949, of which 2-3 episodes out of 900 episodes remain. Svømmekjær notably drew upon the work of Antoinette M. Burton, Archive stories: facts, fictions, and the writing of history to address the methodological challenges of dealing with missing radio recordings and how the missing object could be reinstalled within the archive when only the basic metadata remains.

The history project based on the British broadcasting trade union BECTU was the focus of the paper given by Andrew Dawson (University of Greenwich). This paper focused on some important questions about conducting historical projects and the importance of oral history. Dawson highlighted the importance of drawing on a range of material to explore the work of the film industry, rather than simply focusing on the recollections of a number of important individuals. He suggested that listening to authoritative and dominant voices can obscure the more detailed history which can emerge from a wider sample. Dawson also wondered about European broadcasters and if different organisations were conducting similar projects about their own film and television industries which draw on oral history.

From EUscreen partner Utrecht University, Berber Hagedoorn presented on Dutch Multi-Platform Television as a Practice of History and Memory. By means of a case analysis of two Dutch cross-media projects, the documentary series In Europa (In Europe) and the youth documentary series 13 in de Oorlog (13 in the War), Hagedoorn discussed the integration and adaptation of television’s past and audiovisual archive materials in a new context of television itself. This challenges the dominant conception that television is a disposable practice incapable of memory. Hagedoorn’s research deals with archival materials from the Netherlands Institute for Sound and Vision.

Sian Barber, (Royal Holloway, University of London) presented on the methodological challenges posed by the EUscreen project. In a paper entitled Whose Archive, Whose History? Barber suggested that any online visual material needs to be adequately contextualized in order to give the most detailed understanding possible to end users. Barber emphasized the need for a ‘digital historiography’ to help users, in particular students, develop skills in ‘reading’ online material as historical sources. Portals such as EUscreen offer a great deal of material to the users but unless they interrogate the material carefully and fully understand what kind of material it is, then it will be of limited use to them. Barber outlined what the EUscreen project was doing to contextualise material on the portal and how this was achieved through the content selection strategy, virtual exhibitions and detailed metadata.

This four day event was a great opportunity to disseminate information about the EUscreen project and to hear about other projects which have interesting convergences with our own work.

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