VIEW Journal publishes issue 09: TV Formats and Format Research

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EUscreen publishes the open access journal VIEW, which explores Europe’s television history and culture. We’re proud to announce the publication of our summer issue, which is now available in its entirety at www.viewjournal.eu. This ninth issue, on theory, methodology, history and new developments in TV formats and format research, was co-edited by John Ellis, Professor of Media Arts at Royal Holloway, University of London, Andrea Esser, Principal Lecturer in Media and Communications at the University of Roehampton (UK) and Juan Francisco Gutiérrez Lozano, Senior Lecturer in Journalism at the University of Málaga (Spain).

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VIEW Journal publishes issue 08: Archive-Based Productions

VIEW Journal

 

EUscreen publishes the open access journal VIEW, which explores Europe’s television history and culture. We’re proud to announce the publication of our winter issue, which is now available in its entirety at www.viewjournal.eu. This eight issue, on the use and re-use of moving image archives in various productions, was co-edited by Claude Mussou, head of InaTEQUE, and Mette Charis Buchman, senior manager of archive research at Danish Broadcasting Corporation (DR).

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VIEW Journal publishes issue 07: Archaeologies of Tele-Visions and -Realities

Banner VIEW Journal issue 07

 

EUscreen publishes the open access journal VIEW, which explores Europe’s television history and culture. We’re proud to announce the publication of our summer issue, which is now available in its entirety at http://journal.euscreen.eu. This seventh issue was co-edited by Andreas Fickers, Professor for Contemporary and Digital History at the University of Luxembourg, and Anne-Katrin Weber, lecturer at the University of Lausanne.

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VIEW Journal issue on “Convergent Television(s)” now available

VIEW Issue on Convergent Television(s) In March, we published the call for papers for the sixth issue of our open access journal VIEW, which explores Europe’s television history and culture. At the end of December, this latest issue found its way online and it is now available in its entirety at http://journal.euscreen.eu. All articles can be read on screen, where source materials can be found embedded in the article text, or saved as a PDF for reading offline.

The sixth issue is co-edited by Gabriele Balbi, Assistant Professor in Media Studies at the Università della Svizzera italiana, and Massimo Scaglioni, Assistant Professor of Media History at the Catholic University of Milan.

The history of media convergence, especially of convergent television, is a field that needed further investigation. Media convergence is often considered a taken-for-granted phenomenon, a kind of ‘irresistible’ force that has changed and is continuously changing media ecosystems. Furthermore, it seems to be mainly an American phenomenon because it has involved US politics and companies and because the most relevant reflections and publications on this topic come from American scholars.

This issue of VIEW tries to deal with this complex and polysemic concept from different points of view, adopting several theoretical and methodological frameworks. It attempts to counteract some of the aforementioned taken-for-granted ideas, analyzing TV convergence from a historical and long-term perspective, considering symmetrical case studies of success and failures, concentrating on the European dimension through the lens of transnational, comparative, and national contributions.

Table of Contents

  • Editorial – Gabriele Balbi, Massimo Scaglioni

Discoveries

Explorations

Publishing info

VIEW is published by the Netherlands Institute for Sound and Vision in collaboration with Utrecht University, University of Luxembourg and Royal Holloway University of London. It is supported by the EUscreenXL project, the European Television History Network and the Netherlands Organization for Scientific Research.

EUscreen recommends: “Television Audiences Across the World. Deconstructing the Ratings Machine”

‘This collection is a most comprehensive book on television ratings systems. It offers a remarkable breadth of case studies of nations from North and South America, Europe, and Asia. These also include a wide variety of types of measurement practices and organizational structures. Such an array offers great opportunities for comparative analyses. Just as important, the book is theoretically, analytically and critically sophisticated. It examines the various critiques of audience measurement, such as the important distinction between substantive and procedural truths and the underlying assumptions in quantification and statistics about human behavior and social relations.” (BACK COVER ENDORSEMENT BY Richard Butsch, author of “The Making of American Audiences”).

 

televsion audiencesIntroduction; Jérôme Bourdon and Cécile Méadel
PART I: INVENTING MEASUREMENT
1. The Politics of Enjoyment: Competing Audience Measurement Systems in Britain, 1950-1980; Stefan Schwarzkopf
2. Still the British Model? The BARB versus Nielsen; Marc Balnaves
3. Canada’s Audience Massage: Audience Research and TV Policy Development, 1980-2010; Philip Savage and Alexandre Sévigny
4. The Monopoly that Won’t Divide: France’s Médiamétrie; Jérôme Bourdon and Cécile Méadel
5. Pioneering the Peoplemeter: German Public Service; Susanne Vollberg
PART II: APPROPRIATING AUDIENCE FIGURES
6. Power Games: Audience Measurement as a Mediation Between Actors in India; Santanu Chakrabarti
7. Imagining Audiences in Brazil: Class, ‘Race’ and Gender; Esther Hamburger, Heloisa Buarque de Almeida, and Tirza Aidar
8. From Referee to Scapegoat, but still Referee: Auditel in Italy; Massimo Scaglioni
9. Domestication of Anglo-Saxon Conventions and Practices in Australia; Mark Balnaves
10. Market Requirements and Political Challenges: Russia Between Two Worlds; Elena Johansson and Sergey Davydov
PART III: CONFRONTING CHANGES
11. The Role of Ratings in Scheduling. Commercial Logics in Irish Public Television; Ann-Marie Murray
12. The Local Peoplemeter, the Portable Peoplemeter, and the Unsettled Law and Policy of Audience Measurement in the US; Philip Napoli
13. Challenges of Digital Innovations: A Set-Top Box Based Approach; Katrien Berte and Tom Evens
14. Thickening Behavioral Data: New Uses of Ratings for Social Sciences; Jakob Bjur

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

CALL FOR PAPERS: Doing Women’s Film and Television History

The Second International Conference of the Women’s Film and Television History Network – UK/Ireland will take place from 10th to 12th April 2014 at The University of East Anglia, UK.

Building on the success of the first ‘Doing Women’s Film History’ conference held in 2011, this three-day international conference will bring together researchers in women’s film and television history, archivists, curators and creative practitioners to explore and celebrate all aspects of women’s participation within the visual media industries across the globe and in all periods. The conference will provide a forum for the latest research into women’s work in film and television production (both on screen and off screen), in film distribution and exhibition, their roles in television ranging from presenters and personalities to commissioners and controllers, as well as women’s activities as film and television critics, consumers and fans.

Papers on any topic related to women’s film, television and media history are welcome. Also, the conference organisers invite all interested in hosting panels and strands on the following areas:

* women and documentary: whose voices, which audiences, to whose benefit?

* screenwriters and scriptwriting: the woman writer

* women’s contributions to non-Anglophone film and television industries

* feminist filmmakers and filmmaking collectives

* female film and television fan cultures

* teaching women’s film and television history

Proposals of 300 words for papers should be sent todoingwomensfilmandtvhistory@uea.ac.uk no later than 31st October 2013

Conference organisers: Laraine Porter (De Montfort University), Yvonne Tasker (University of East Anglia) and Melanie Williams (University of East Anglia)

European Television Memories

Third issue of open access VIEW Journal for European Television History & Culture highlights debates on how television fosters the moving borders of national memories.

VIEW issue 03 cover image

Cover image © Special collection Bibliothèque Forney

VIEW, the Journal of European Television History and Culture is the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It offers an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. The journal is proud to present its third issue: European Television Memories. It has been guest-edited by Jérôme Bourdon & Berber Hagedoorn and is freely available at: http://www.viewjournal.eu

In the context of the fast development of memory studies, the third issue of VIEW highlights debates around the moving borders of national memories, fostered by television in the context of European history. The articles in this issue focus on the contribution of European television researchers, covering all three areas of media studies: production, text and reception. They touch upon a broad range of topics, including:

  • the reconstruction of the national past after regime changes in both Southern and Eastern Europe;
  • competing versions of the “same” past;
  • the fragile fostering of a European identity;
  • the regional/would-be national past.

The issue emphasizes the different ethnographic & historical uses of life-stories from television viewers. It hints at the possible changes to memory formation brought about by television in the post-network digital era. Finally, this issue charts the field of European television memories and suggests ways it can be researched further, both nationally and transnationally.

We wish you a pleasant and inspiring journey through European Television Memories!

Table of Contents

Editorial – Jérôme Bourdon,  Berber Hagedoorn

DISCOVERIES

  1. ‘Remembering Our First TV Set’. Personal Memories as a Source for Television Audience History – Cecilia Penati
  2. “It’s just so hard to bring it to mind”: The Significance of ‘Wallpaper’ in the Gendering of Television Memory Work – Hazel Collie
  3. Martin Luther in Primetime. Television Fiction and Cultural Memory Construction in Cold War Germany – Stewart Anderson
  4. The Production of Czechoslovakia´s Most Popular Television Serial ‘The Hospital on the Outskirts’ and its Post-1989 Repeats – Petr Bednařík
  5. Parallel Stories, Differentiated Histories. Exploring Fiction and Memory in Spanish and Portuguese Television – José Carlos Rueda Laffond, Carlota Coronado Ruiz, Catarina Duff Burnay, Susana Díaz Pérez, Amparo Guerra Gómez, Rogério Santos
  6. Looking for What You Are Looking for: A Media Researcher’s First Search in a Television Archive – Jasmijn Van Gorp

EXPLORATIONS

  1. Television as a Hybrid Repertoire of Memory. New Dynamic Practices of Cultural Memory in the Multi-Platform Era – Berber Hagedoorn
  2. Why Should We Study Socialist Commercials? – Anikó Imre
  3. Window to the West: Memories of Watching Finnish Television in Estonia During the Soviet Period – Annika Lepp, Mervi Pantti
  4. The Life and Afterlife of a Socialist Media Friend. On the Longterm Cultural Relevance of the Polish TV Series ‘Czterdziestolatek’ – Kinga S. Bloch
  5. Chronology and Ideology. Temporal Structuring in Israeli Historical Documentary Series – Bosmat Garami
  6. Great Escapes from the Past. Memory and Identity in European Transnational Television News – Andreas Widholm
  7. Memory, Television and the Making of the BBC’s ‘The Story of Wales’ – Steve Blandford, Ruth McElroy

Publishing info

VIEW is published by the Netherlands Institute for Sound and Vision in collaboration with Utrecht University, Maastricht University and Royal Holloway University of London. It is supported by the EUscreenXL project, the European Television History Network and the Netherlands Organization for Scientific Research.

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