Who Knows Television? Online Access and the Gatekeepers of Knowledge

Noordegraaf, Julia

doi:10.7227/cst.5.2.3

Cited by 11 publications

(8 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The digital television archive is, of course, a construction, a history--producing entity in itself, just like any other archive. This has also been pointed out in many other recent studies (Hagedoorn, 2013;Noordegraaf, 2010;Pajala, 2010), but although they focus on the socio-cultural construction of knowledge within the archive, they do not address the pre--selection process as a central theme. Mari Pajala's (2010) research focuses on archives hosted in Sweden, Britain, Finland, Ireland, and Spain and the social construction of memory.…”

Section: Producing Digital Histories In a Decontextualized Environmenmentioning

confidence: 95%

“…She analyses the display of the elements within the archive, not why these elements were chosen in the first place. Julie Noordegraaf's (2010) work also favors the social construction of knowledge in the digital television archives while the question of pre--selection is only mentioned in passing. However, without knowledge of the selection process and with only very limited knowledge of the sources' link to any of the contexts in which they could be interpreted (metadata), the digital audiovisual archives cannot form the basis for transparent and thorough research on their own, let alone become the foundation for a 'new digital historicism'.…”

Section: Producing Digital Histories In a Decontextualized Environmenmentioning

confidence: 99%

“…Leading scholars in the field of television history see the online archive as a game changer. Seemingly, there is almost no end to what we can achieve with the digitalized programs that are now available to us (De Leeuw, 2012;Ernst and Parikka, 2012;Noordegraaf, 2010;Verbruggen et al, 2014). For professional historians, it is only their conservatism that stands between them and the dawn of a new digital historicism, Andreas Fickers (2012) has argued.…”

Section: The Presumed Impact Of the Online Archivementioning

confidence: 99%

See 2 more Smart Citations

Doing media history in a digital age: change and continuity in historiographical practices

Jensen

2015

Media, Culture & Society

View full text Add to dashboard Cite

This article explores the challenges which digital media brings into the field of media history. It starts out by examining prominent television historians' understanding of digital archives as revolutionizing media historiography. These claims are examined by holding them up against texts that discuss wider issues in historiographical practices related to television history and transnational comparisons. This investigation is paired with my own experiences and the many methodological challenges I have encountered using digitalized sources for my new research. I end up concluding that digital archives in themselves make little difference to scholarly media history. In light of the lacking impact, I argue that we should study the cultural economy of these archives to better understand the corporate, political, and economical structures that govern their content and which also set the course for online digital processes that are active history-producing entities themselves. Keywords: archive digital media media history social memory television transnational I took my first steps into the field of television history in 2006. This was the middle of a decade in which European broadcasting corporations began to share their audiovisual collections with the public via digital archives. For my first project, however, I never had the chance to use a digital archive as, in the end, nothing I wanted to see was digitalized. Returning to the field almost a decade later, things seem to be quite different: the archives of several European broadcasting corporations can be accessed online, and we have the digital, online pan-European television archive 'EUscreen'. Institutionally, it seems there has been a massive effort to make audiovisual material available to the wider public in digital archives. Parallel to this process, blogs, wikis, and other sites with user-generated content are increasingly places where material for research projects can be found. In the process of looking for data, the wealth of written online material is only outshined by the abundance of clips on YouTube and similar sites. With these new contributions to media history, it looks like digital media has come to play a significant historiographical role. However, what appears to be an age where digitalization is revolutionizing media history, and an Internet connection is all one needs to collect data, is also a time that brings media historians face to face with new ethical and methodological problems. Investigating these problems on the basis of personal experience, this piece explores a set of challenges new digital media brings into media history.

show abstract

Section: Producing Digital Histories In a Decontextualized Environmenmentioning

confidence: 95%

Section: Producing Digital Histories In a Decontextualized Environmenmentioning

confidence: 99%

Section: The Presumed Impact Of the Online Archivementioning

confidence: 99%

See 1 more Smart Citation

Doing media history in a digital age: change and continuity in historiographical practices

Jensen

2015

Media, Culture & Society

View full text Add to dashboard Cite

show abstract

“…This aim can be easily achieved using the many available de facto standards. With respect to audiovisual archives, YouTube has become the standard of what users expect: comprehensiveness, interactivity (the capacity to embed videos from the collection or to upload one's own), instantaneous accessibility and enabled social networking (the capacity to link individuals to their uploads and favorite videos, send material to others and maintain friendships) (Noordegraaf, 2010;Prelinger, 2007). Complying with these standards would decrease the effort a potential user must expend to use the digital service.…”

Section: Implications For Audiovisual Heritage Archivesmentioning

confidence: 99%

A consumer perspective on moving images: The design and adoption of public audiovisual heritage services in the Netherlands

Ongena¹

View full text Add to dashboard Cite

“…Julia Noordegraaf gebruikt voor dit proces, in navolging van Mieke Bal, het concept 'framing'; zij benadrukt daarbij hoezeer betekenis die we hechten aan culturele objecten een constructie is, het resultaat bovendien van contextuele factoren. 41 Wat daarbij zichtbaar wordt is de transitie van binnen naar buiten, van curator naar gebruiker. Die verloopt overigens niet zonder slag of stoot.…”

Section: De Bron En De Interfaceunclassified

Het archief als netwerk: Perspectieven op de studie van online televisie-erfgoed

Leeuw¹

2015

TMG

View full text Add to dashboard Cite

is hoogleraar Nederlandse televisiecultuur in internationale context in het departement Media-en Cultuurwetenschappen van de Universiteit Utrecht. Haar onderzoeksinteresses liggen op het gebied van (Europese) televisiecultuur, televisie-erfgoed en culturele diversiteit. Ze publiceerde over televisiecultuur in brede zin, over televisiegeschiedenis en over diasporische media. Ze participeerde in het Europese project CHICAM, Children in Communication about Migration (2001-2004) and coördineerde het Europese project Video Active, Creating Access to Europe's Television Heritage (2006-2009). Ze is met Andreas Fickers (Universiteit Maastricht) oprichter en coördinator van het European Television History Network. Op dit moment leidt zij het Europese onderzoeksproject EUscreen, Exploring Europe's Television Heritage in Changing Contexts en is zij medecoördinator van het onderzoeksproject The Power of Satire: Cultural Boundaries contested.

show abstract

Who Knows Television? Online Access and the Gatekeepers of Knowledge

Cited by 11 publications

References 0 publications

Doing media history in a digital age: change and continuity in historiographical practices

Doing media history in a digital age: change and continuity in historiographical practices

A consumer perspective on moving images: The design and adoption of public audiovisual heritage services in the Netherlands

Het archief als netwerk: Perspectieven op de studie van online televisie-erfgoed

Contact Info

Product

Resources

About