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source: National Library of Sweden, euscreen.eu
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Session III: Historical Views On Curation | Content in Motion

In this session, researchers will confront their findings on the way archives have been and are used in fresh productions and for what purpose.
Date
FRI   04 / 12 / 2015
Hour
09:30  –  11:00
Place
National Film Archive – Audiovisual Institute Wałbrzyska 3/5
02-739 Warsaw
The Promised Land room | 1st floor

Easier access to digitized collections has fostered cooperation and mutual enrichment between heritage institutions and the academy. From Birth of TV to EUscreenXL, the audiovisual heritage EU funded projects have provided researchers with the opportunity to join an expanding European academic network and to develop a transnational approach to the study of television history and programmes. In order to address this community's need for a critical study of the bulk of AV content made available online, EUscreen released in 2012 the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture – VIEW. Its upcoming issue, which focuses on Archive based programs, has been raising many questions, which will be debated during this panel.

Lisa Kerrigan, British Film Institute
Matteo Treleani, University of Lille 3
Jean Christophe Meyer, University of Strasbourg

[Moderator] Claude Mussou, French Audiovisual Institute

@inadlweb

Claude for most of her career has been working at the French Audiovisual Institute (Ina). Recently in charge of a newly created web archiving activity, she is now head of InaTEQUE, the department which fosters and promotes academic usage of Ina's collections.

Lisa Kerrigan | Plundering the Archive and the Recurring Joys of Television

This paper will detail the use of archive footage within the BBC2 series Plunder and consider the programme’s production and reception.

Today’s seemingly unlimited digital landscape would seem to invite the notion that the appreciation of archive film and television material as a historical object is a contemporary development. The growth of television archives in the last thirty years, and the large number of missing programmes from earlier decades, seems toconfirm the idea that television in the 1950s and 1960s was viewed and experienced as ephemeral, and more concerned with breaking new boundaries than reflecting on its own short history. It is unusual then, to find a series devoted to archive television in the BBC2 Saturday night schedule in the mid-1960s. Plunder was billed as "a weekly raid on the BBC archives" and ran as part of the discussion series Late Night Line-Up from 1965-67. Largely showing excerpts from pre-1955 programmes, the series invited viewers to enjoy what presenter Michell Raper called “the vanished joys of television” including interviews with notable figures and more formal fixtures of early television such as “interlude films”.

Lisa Kerrigan

@kerriganagain

Lisa joined the British Film Institute as a television curator in 2008, having previously worked for the British Universities Film and Video Council and at the BBC, where she catalogued Radio 4 news and current affairs. She selects television programmes for preservation in the BFI National Archive and assists with BFI projects as well as writing for BFI DVD booklets, the Mediatheques and the BFI website. She is currently working on Visions of Change: the evolution of the British TV Documentary, a season of television documentaries from the 1950s and 1960s which will be accompanied by DVD releases. She is one of the organisers of Home Movie Day London.

Matteo Treleani | Misusing Archives

What constitutes a bad practice in re-editing video content?

The problem of bad practices in the use of archive footage in television programmes and documentaries is often considered a matter of authenticity and reliability. From a deontological perspective, images should be used for what they represent. To make believe that an image shows something different from what it really shows is a way to manipulate the viewer. However, many cases of reusing archives have revealed that this is just a small part of the issue and often not the most compelling one. By analyzing the questions raised by some well-known examples of “bad practices”, we will try to understand what's the point in misusing archives.

Matteo Treleani

@mtrele

Associate Professor in Communication Studies at the University of Lille 3. He holds a PhD in semiotics from Paris Diderot University and a Master Degree from Bologna University. From 2008 to 2012 he worked as a researcher at the Institut national de l'audiovisuel. He has been a lecturer at Université Sorbonne Nouvelle, Sciences Po and University of Luxembourg. He is author of Mémoires audiovisuelles. Les archives en ligne ont-elles un sens? and co-editor of Vers un nouvel archiviste numérique.

Jean Christophe Meyer | Histoire Parallèle/Die Woche vor 50 Jahren – Lieu de mémoire?

This paper is aimed first at analyzing the initial public impact of Histoire Parallèle/Die Woche vor 50 Jahren, which aired weekly first on la Sept and then on French-German TV channel Arte from 1989 to 2001.

The 55-minute show exploited newsreel material, systematically presenting it in the original full length after exactly 50 years after its initial release in movie theatres. It covered a period stretching from the beginning of World War II until the end of the Marshall Plan. It simultaneously illustrated contradictive perspectives of several nations at war with each other. This part of the show lasted for 40 minutes. Then, for the final quarter of an hour, the show’s mainstay host, historian Marc Ferro discussed the material presented with a guest, usually a scholar. Despite the fact that the show could never be sold to foreign channels or rebroadcast, it still arouses great interest. Therefore our paper intends to explore how and to what extent content curation may contribute to it becoming a transnational or European Lieu de mémoire.

Jean Christophe Meyer

A Senior Lecturer for German Studies, French Studies and History at the University of Strasbourg (France). His research is focused on the History of European Sports Media, of French television and the History of French-German Relations. His thesis is entitled Television Broadcast Football and its Reception by the Press in France and Germany (1950-1966): The Completion of the “Great Stadium”, a Conveyor of National and European Identity. It was realized in “cotutelle” under the joined direction of Professor Sylvain Schirmann (Institut d’Études Politiques – Strasbourg, France) and Professor Franz-Josef Brüggemeier (Albert-Ludwigs-Universität Freiburg im Breisgau, Germany).

See also