Mediated Memories in the Digital Age (Cultural Memory in the Present)
Digital photo cameras, camcorders, and multimedia computers are rapidly replacing analogue equipment, inevitably changing our everyday routines and conventional forms of recollection.
Television as a Hybrid Repertoire of Memory
How will digital photographs, lifelogs, photoblogs, webcams, or playlists change our personal remembrance of things past? And how will they affect our cultural memory? The main focus of this study is the ways in which old and new media technologies shape acts of memory and individual remembrances. This book spotlights familiar objects but addresses the larger issues of how technology penetrates our intimate routines and emotive processes, how it affects the relationship between private and public, memory and experience, self and others.
Pictures of Life Living Pictures.
The model demonstrates how television as cultural memory offers more dynamic, diverse forms of engagement with the past to different users and in particular, a wider range of opportunities to develop specific memory practices in the multi-platform era. Rather than representing active and passive remembering or forgetting on opposite sides of a spectrum, the model I propose Figure 2 represents a more dynamic spectrum. The different levels of active and passive engagement with the past by various users are made visible in vertical relation to one another. I outline different stages of remembering and forgetting from more and most active, to less and least active or passive cultural practices.
- EUscreen Portal.
- Lotus Blossom.
- Le jeu de loie (Littérature Française) (French Edition).
In this manner, the model emphasises the close connections between different forms of remembering and forgetting, and a more nuanced perspective on the degree of disconnection. Different user roles in the active construction of a working memory are subsequently made explicit. Television professionals and television users both engage in cultural practices of multi-platform storytelling, contributing to the active re- construction of memory. Interactive, participatory practices and content produced by television users need to be considered as a significant part of such a working memory.
This is especially relevant considering that television users are more and more becoming like media producers in their own selection of and interaction with content. For example, the Dutch television canon of 60 definite titles is chosen by the Dutch public from a given programme selection via the website http: But in the multi-platform era, we need to consider another distinct mode of reference memory for television.
Mediated memories in the digital age
This repertoire consists of a wide, variable and changing range of possibilities to access televisual content across various screens and platforms. The conditions and time constraints under which these materials are accessible to professionals and viewers can vary, and are also subject to rights issues and other limits to material circulation. Via new digital technologies, users give active, personal interpretations to multi-platform repositories such as catch-up TV websites e. Finally, the model is further expanded by including technological incompatibility as an important form of disregard.
This is particularly a possibility for the repertoire, which is less fixed and more likely to change or be prone to deprecated technologies in comparison to the archive-as-storehouse. However, material removal is another important form of active forgetting as omission.
- Television as a Hybrid Repertoire of Memory : VIEW Journal.
- ELVIS PRESLEY: THE KINGS FIRST BIG SCORE AT SUN STUDIO.
- The Duke and the Stars (I Tatti Studies in Italian Renaissance History).
- In der Hitze der Nacht (German Edition)?
For instance, the more active decisions by television professionals in not selecting particular content for the small screen, but also the reduced circulation of televisual content on a digital thematic channel due to a limited number of authorized reruns, as well as content made available online for a limited period. The re- construction of narratives of the past through the medium of television is personally and collectively experienced within specific cultural and technological frameworks.
Such experiences are shaped by the ways in which content is made accessible by television institutions as well as the personal engagement of television users with content. New digital technologies are the driving force behind the increasingly connected experiences offered and utilized by the medium television. In the following part of this article, I will therefore take a closer look at the hybridity of the medium, and carry out an analysis to further explore how new dynamic production and scheduling practices affect how television users can engage with the past. As the essays in the edited volume Television as Digital Media demonstrate, the practices of digital television have long been established within television in the broadcast era.
On the other hand, television programmes echo the increasingly unstable industrial conditions from the early twenty-first century, characterised by the continual convergence of media platforms and the fragmentation of audiences.
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Recent studies emphasize that we cannot speak of a simple shift from broadcasting to narrowcasting:. New digital technologies also offer growing opportunities to pack numerous facilities into a multi-fractured device or service. One of the key developments in the televisual landscape is hybrid TV or connected TV , meaning the acquisition of services via the direct connection of television with new digital media forms — from live television broadcasts to on demand viewing and gaming practices.
Since most TVs sold will be able to connect to the internet by although this absolutely does not entail that all bought sets will be web-connected by their owners , the EBU argues that common solutions linking television and internet will encourage more competition between suppliers, lowers costs and offers choice for consumers.
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- Theme From Shaft!
For the moment, important factors such as the number of viewers relying on the terrestrial television platform and the penetration of DTT services 21 influence the situation in individual countries. The implementation of hybrid TV or connected TV depends greatly on the type of viewing culture, regulations and infrastructure in each country.
EUscreen Webcast
Consequently, television is mixed in with digital culture across different infrastructures and timelines. The documentary platform of Dutch public television, Holland Doc, demonstrates how a repertoire of texts is actively circulated via television as a constellation of connected, curated practices. The Holland Doc platform encompasses four media texts, which are:. For example, the Holland Doc website offers visitors a variety of entry points to access its television and radio programming and online archive.
Visitors on the portal can browse through a selection of key themes on the homepage, to access connected television and radio documentaries and actively engage with the media texts in the repertoire. Political representation by F. Powers of the Secular Modern: The Practice of Conceptual History: The Practice of Cultural Analysis: Reflections of equality by Christoph Menke. Sublime Historical Experience by F. Taking on the Tradition: