VIEW

http://journal.euscreen.eu/index.php/view
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. With its interdisciplinary profile, the journal is open to many disciplinary perspectives on European television – including television history, media studies, media sociology, cultural studies and television studies.

List of Papers (Total 66)

Korsakow Perspective(s): Rethinking Documentary Knowledge in Digital Multilinear Environments

In “linear documentary land”, we are trained to see stories everywhere we look. As noted by Grasseni and Walter (2014), digital media affordances encourage reflections on this particular “schooling of the eye”, the power relations it is embedded in as well as the creation of counter-practices. Indeed, many artists, media practitioners and scholars advocate interactivity as a ...

A Transmedia Topology of 'Making a Murderer'

This article constructs a transmedia topology of the Making a Murderer text, demonstrating influences of various forms of documentary, interactive gaming culture, and post-digital writing on the series itself as well as on the paratextual cloud of works that grew up around it. Here we define transmedia topology as a tracing of what we could call the geography of the text, as ...

Small Change – Big Difference: Tracking the Transmediality of Red Nose Day

This article analyses transmedia as a non-fictional social phenomenon, discussing the significance of participation, documentary, and community media. Specifically, the article conceptualises transmedia through the lens of charity politics. To do so, I use the Comic Relief charity campaign in the UK to trace how the socials traditions, ways of life and sensibilities associated with ...

Story, History and Intercultural Memory: Can a Transmedia Approach Benefit an Archive-Based Documentary Project?

How can transmedia storytelling benefit to a documentary production in order to give historical archives a second life? Could it possibly help updating official archives, adding to the them amateur’s contributions? We will try to answer the question by recalling some recent European experiences of Web-documentaries linked to television series. This will allows us to extrapolate a ...

I’m Sorry I Don’t Have a Story: An Essay Involving Interactive Documentary, Bristol and Hypertext

From the Introduction:I don’t know what this is, which is a strange place from which to begin. This is unsettling, for as an academic I am trained and acculturated to displaying a certainty of manner — a certainty that many of my students and conference colleagues would attest I have down pat. It begins from Bristol. It begins from Alisa Lebow’s presentation at the 2016 i–Docs ...

Crossroads. Life Changing Stories from the Second World War: A (Transmedia) Storytelling Approach to World War II Heritage

Crossroads is the name of the concept that narratively connects several WWII-related cultural institutions in Brabant. We were initially looking for ways to connect 4 otherwise very diverse World War II-related institutions (in fact, 3 museums and a commemoration centre) and we found it in this overarching paradigm. Crossroads does not require museums to share their collection ...

Interactive Graphic Journalism

This paper examines graphic journalism (GJ) in a transmedial context, and argues that transmedial graphic journalism (TMGJ) is an important and fruitful new form of visual storytelling, that will re-invigorate the field of journalism, as it steadily tests out and plays with new media, ultimately leading to new challenges in both the production and reception process. With TMGJ, ...

Remembering Operación Triunfo: a Latin Music Reality Show in the Era of Talent Shows

The music format Operación Triunfo (2001–2011), which aired on RTVE for the first time in 2001, started as a television (TV) and musical success in Spain and today is one of the most famous shows around the world as well as an incredible socio-economic phenomenon in Spanish TV. This paper describes the format concept and results. Both commercial and social aspects are introduced to ...

Transforming 'Female' Programmes: Don’t Tell the Bride from International TV to Italian Digital Channels for Women

Contemporary Italian digital channels explicitly targeting women (such as Real Time, Lei, Fox Life, La5, and La7d) represent a privileged observatory for some general trends in the international circulation of content and incorporation of foreign formats into national television (TV). In fact, their schedules rely heavily on the genre of factual entertainment, which was first ...

Rising Star: a Game-Changing Format in a Dying Genre. The Highs and Lows of a Format's Birth

In the TV industry everyone is constantly searching for ‘the next big hit.’ For a brief moment in time, Rising Star perfectly fit this description. Within days of the Israeli launch of the first season, the format had already sold internationally to major territories. Rising Star boasted a first of its kind audience participation and a real-time live experience. This caught the ...

Will the Sun Rise? Japan’s Limited Role in the Global Format Business

This article illustrates the TV format business in Japan, which has a 60-year history of TV broadcasting and is the second biggest market in the world; however, it is still a small player in the business. The article examines the elements which prevent the international sale of more TV formats and suggests possible solutions. To meet the objectives, this study presents the ...

Aesthetic Proximity: the Role of Stylistic Programme Elements in Format Localisation

Implications of the transnationalisation of television are often studied by focusing on the localisation of the content of formatted programmes. Although television is essentially an audio-visual medium, little attention has been paid to the aesthetic aspects of television texts in relation to transnationalisation and formatting. Transnationalisation of production practices, such ...

Authorship, Autobiography and the Archive: Marilyn on Marilyn, Television and Documentary Theory

In 2004, documentary theorist Michael Renov described ‘the recent turn to filmic autobiography’ as ‘the defining trend of “post-verite” documentary practice...’ In 2008 Renov went further still, suggesting that ‘the very idea of autobiography challenges/reinvents the VERY IDEA of documentary.’ Archive based autobiographical filmmaking, meanwhile, is even more problematic for ...

Eyewitnesses of History: Italian Amateur Cinema as Cultural Heritage and Source for Audiovisual and Media Production

The role of amateur cinema as archival material in Italian media productions has only recently been discovered. Italy, as opposed to other European countries, lacked a local, regional and national policy for the collection and preservation of private audiovisual documents, which led, as a result, to the inaccessibility of the sources. In 2002 the Archivio Nazionale del Film di ...

Histoire Parallèle/Die Woche vor 50 Jahren (La SEPT/ARTE 1989-2001): Newsreels as an 'Agent and Source of History'

This contribution is aimed at analyzing the public impact of „Histoire Parallèle/Die Woche vor 50 Jahren“, a history show that stands out by its longevity and conceptual design. This study is founded on archive material and statistical data (Institut National de l’Audiovisuel, Arte, Deutsches Rundfunk Archiv, …), contemporary literature and press coverage as well as on an interview ...

'Goodwill Ambassador': the Legacy of Dutch Colonial Films

The article looks back at the films commissioned and produced by the Dutch governments about their colony in teh East-Indies between 1912 and 1962. The main focus is on the newsreels and documentaries about the colonial war between the Netherlands and Indonesia  from 1945 to 1949. The article reviews these films and the re-use of their footage in later television programs. The ...

Archive Footage in New Programmes: Presentational Issues and Perspectives

Archivists have traditionally been concerned about what they have seen as incorrect usage of archival footage in new documentaries, but changing technologies and programme-making conventions have made this inevitable. This paper considers aspects of these changes, focussing particularly on the issue of how the introduction of widescren television affected and continues to affect ...

Immersive Televisual Environments: Spectatorship, Stereoscopic Vision and the Failure of 3DTV

This article focuses on one of the most ground-breaking technological attempts in creating novel immersive media environments for heightened televisual user experiences: 3DTV, a Network of Excellence funded by the European Commission 6th Framework Information Society Technologies Programme. Based on the theoretical framework outlined by the works of Jonathan Crary and Brian ...

Streaming: A Media Hydrography of Televisual Flows

This paper focuses on the continuities, rather than the ruptures, between digital television and past media forms. It situates the metaphor of “streaming” in contrast to and connection with previous fluid metaphors that have been used to describe different models of media transmission. From the early use of aqueous vocabulary that shaped popular and scientific understandings of ...

Without Latency: Cathode Immersions and the Neglected Practice of Xenocasting for Television and Radio

This paper discusses a three-year radio project Cathode Immersions, which was aired on 2SER in Sydney Australia. The audio that accompanied free-to-air television was remixed and rebroadcast in real time without latency. It explores the human and non-human aspects of the convergence of these two media, introducing ideas of xenocasting and media adjacency. The weekly xenocast of ...

The lessons of Counterpoint: Ernst’s media archaeology and practical archival research

The writings of the German scholar Wolfgang Ernst have become increasingly influential within media archaeology in recent years. His work adopts a strongly techno-centric approach and identifies archives as important study centres. Paradoxically, practical archival evidence is sometimes lacking within Ernst’s output. This paper uses evidence from a recent television archive project ...

Convergent Television and 'Audience Participation': The Early Days of Interactive Digital Television in the UK

The paper focuses on the introduction of interactive digital television (DTV) in the UK, at the turn of the millennium, and its take-up and use by early audiences. It discusses whether the processes of television technological convergence went together with “consumer behavior convergence”[i], enhanced audience engagement with the interactive TV services offered, and participation. ...