VOLUME 6 (2017) ISSUE 11
History of Private and Commercial Television in Europe
The history of European televisions’ commercialization is interesting and complex. In many European countries, early attempts to launch some form of private television took place on a local, national, or even supra-national basis. The process of television commercialization in Europe didn’t just start during the 1980s. Its implementation happened from the very beginning, and followed very different paths in each country. This issue on the History of Private and Commercial Television in Europe may help deepen our understanding of how the commercialization of television has shaped media culture in Europe. It offers a scholarly view on the history of private and commercial television in Europe, addressing institutional, technological, political, and cultural perspectives, and their entanglement, so as to allow for transnational comparison.TABLE OF CONTENTS
VOLUME 5 (2016) ISSUE 10
Interactive digital media have greatly affected the logics of production, exhibition and reception of non-fiction audiovisual works, leading to the emergence of a new area called “interactive and transmedia non-fiction”. One of its key points is that it can deal with factual material in such a way that it influences and transforms the real world around us. With this issue we aim to offer a scholarly perspective on the emergence of transmedia forms, their technological and aesthetic characteristics, the types of audience engagement they engender, the possibilities they create for engagement with archival content, the technological predecessors that they may or may not have emerged from, and the institutional and creative milieux in which they thrive.TABLE OF CONTENTS
VOLUME 5 (2016) ISSUE 9
TV Formats and Format Research: Theory, methodology, history and new developments
During the last 15 years format research has grown into a notable, distinct field of academic investigation alongside the dramatic expansion of the trade in TV formats.
This special issue of VIEW builds on existing format scholarship to deepen our understanding of the history and the continuing growth of the TV format business from a European perspective.TABLE OF CONTENTS
VOLUME 4 (2015) ISSUE 8
In 1927, when Esfir Schub released her commissioned film The fall of the Romanov Dynasty to commemorate the 10th anniversary of the October Revolution, she hardly knew that her extensive use of film footage and newsreels of the event would mark the invention of a new ‘genre’: the archive-based production or compilation genre. Television has adopted this genre, but audiovisual archives have fuelled a wide array of programmes and genres beyond compilation productions.TABLE OF CONTENTS
Government, business, broadcast and film archives as well as amateur collections and home videos are commonly used to spark memories and re-enact events from the past in various contexts. They are made widely accessible and re-used in traditional broadcast productions or given a second life in digital environments through online circulation.
In this issue of VIEW, scholars, archivists, and other media practitioners consider, highlight and elaborate on the use and re-use of moving image archives in various productions.
VOLUME 4 (2015) ISSUE 7
Archaeologies of Tele-Visions and -Realities
This issue presents archaeological inquiries into the multiple pasts of tele-visions. It aims to assess the many lives of television and highlights from both diachronic and synchronic perspectives what has shaped television as a technical infrastructure, political and social institution, cultural phenomenon and business model.TABLE OF CONTENTS
VOLUME 3 (2014) ISSUE 6
The history of media convergence, especially of convergent television, is a field that needs to be further investigated. 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
VOLUME 3 (2014) ISSUE 5
Television Histories in (Post)Socialist Europe
While recent comparative and transnational approaches in the field of European television history have demonstrated the need for (post)socialist television histories in Europe, there is currently limited scholarship dedicated to this geopolitical area of television in Europe. This area of study has mostly been relegated to the margins of other disciplines and remained isolated by national languages inaccessible to non-native scholars.
This issue is guest edited at the initiative of the European (Post)Socialist Television History Network. It opens up new perspectives on television histories from Eastern Europe and situates this emerging area of study beyond the political histories of the nation-state, Cold War isolation and East-West antagonism.TABLE OF CONTENTS
VOLUME 2 (2013) ISSUE 4
Hidden Professions of Television
We know little about the ‘behind the scenes’ of television. While the booming field of production studies has been shining a light on the work processes and the personnel in production spaces, there is still a lot to be learnt about the ‘hidden’ professions of television. This issue of VIEW provides a rich but fairly eclectic series of contributions based on the theme. The articles presented here bring under scrutiny the ‘behind the scenes’ activities of television and their hidden, often unrecognised and uncelebrated personnel and processes. They engage across a wide range of organisational, administrative and technical activities that have played their understated, often ‘invisible’ part in the historical formation and development of television.
Just like in the previous issues, articles in this issue are divided across two separate sections: ‘Discoveries’ that zoom into the ‘behind the scenes’ of specific programmes and broadcasters and use innovative and original sources; and ‘Explorations’ that shine a light on different professions of television: from the continuity announcers, to the 1st AD, to the TV retailer or audience interpreters.
VOLUME 2 (2013) ISSUE 3
European Television Memories
In the context of the fast development of memory studies, the third issue of VIEW: Journal of European Television History and Culture 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), and 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; and the regional/would be national past. The issue emphasizes the different uses (ethnographic, historical) of life-stories of television viewers and 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, but will also suggest ways it can be researched further, both nationally and transnationally.TABLE OF CONTENTS
VOLUME 1 (2012) ISSUE 2
Europe on and Behind the Screens
This second issue of VIEW enables a discussion of European television through different themes, approaches and case studies. The Discovery articles zoom in on case studies from different corners of Europe, while the Explorations offer different approaches to writing Europe’s television history and advancing theoretical discussions in the field.TABLE OF CONTENTS