Media History

Lange bevor sie mit digitalen Apparaten zu kommunizieren begann, interagierte Architektur in und mit Netzen: als Medium unter Medien, das Zugänge, Anschlüsse und Abschirmungen organisiert – und Wissen, Subjektivität und soziales Verhalten ebenso verändert wie Klima und Umwelt.

Özneleşme söylem ve pratikleri kapitalizmin çeşitli evrelerinde dönüşüme uğramıştır. Özellikle geç kapitalizmde
öznelliğin üretilmesinde kendilik teknolojileri ve yönetimsellik önemli rol oynamaktadır. Bireyin kendisini bir
sermaye türü olarak konumlandırarak kendisine yatırım yapma ve kendi varlığının girişimcisi olması fikrinin
egemen olduğu neoliberal öznellik söylemi, arzu ve psişik alana dair unsurların gayrimaddi emeğin parçası haline
gelmesi bağlamında da tartışılmıştır. Günümüzde dijital teknolojilerin hayatın pek çok alanının ölçümlenerek
düzenlenebilmesine çeşitli vasıtalarla olanak tanıması sonucunda kendilik teknolojileri bireyin kendisini optimize
etme çabasına tekabül etmekte, psikolojik tahayyüllerin toplumsal tahayyülü sekteye uğratmasında katalizör rolü
oynamaktadır. Dijital kapitalizm bu yönüyle kendilik teknolojilerini bütünüyle içerme yollarını edinmekte ve birey
özgürlüğü ve seçme şansı temelinde eklektik iktidar ilişkilerini ortaya çıkarmaktadır. Bu çalışma, söz konusu
özneleşme süreçlerini kavramlar ve örnek vakalar çerçevesinde incelemektedir

O conceito benjaminiano de aura (proposto na década de 1930) atribuiu valores especiais ao original único da obra de arte, em oposição à destruição da aura instaurada a partir de sua reprodutibilidade técnica. Sob a perspectiva da realidade do século XXI, buscar-se-á aqui reunir argumentos capazes de resignificar a cópia impressa no contexto atual, através do conceito de “simulacro aurático”, da efemeridade dos impressos e de novas tecnologias de impressão que tornaram ainda mais difusa a distinção entre o original e a cópia. Nossa reflexão se apoiará fundamentalmente nos conceitos de fetiche da mercadoria de Karl Marx e de simulacro nas visões de Jean Baudrillard e Gilles Deleuze.The Benjaminian concept of aura (proposed in the 1930s) ascribed special values to the unique original of the work of art, as opposed to the destruction of the aura established from its technical reproducibility. From the perspective of the twenty-first century reality, we will try to gather arguments capa...

Eine der klassischen Aufgaben der Geschichtsschreibung sind Periodisierungen, d.h. die Untergliederung des historischen Geschehens in einzelne Phasen oder Epochen. Das gilt so wie fur die Allgemeine Geschichte auch fur die Presse- und Mediengeschichte. Dabei sind solche Bemuhungen immer zwiespaltig. Sie abstrahieren im Nachhinein vom Verlauf der Geschichte, ziehen zeitliche Grenzen, legen Zasuren fest, konstruieren sinnhafte Einheiten. Es ist naheliegend, dass solche Periodisierungen zunachst einmal auf nationale Geschichtsverlaufe bezogen werden. Entsprechend unterschiedlich konnen diese ausfallen. Von solchen theoretischen Uberlegungen ausgehend, werden die Periodisierungen der Pressegeschichte in drei europaischen Landern miteinander verglichen und dahingehend untersucht, inwieweit transnationale Referenzen darin vorkommen. Die Beschrankung auf die Presse ist geboten, weil sie die langste Geschichte aller modernen Medien hat. Einbezogen werden sechs Pressegeschichten aus Deutschl...

Uzun yıllar Karadeniz Bölgesi'nin yerel gazetelerinde ve TRT, AA, HHA gibi ulusal ajanslarda muhabirlik yapmış, haber ve fotoğraf alanında onlarca yıl hizmet ve-rmiş, bölgedeki kültürel faaliyetlere katkı sunmuş, değerli bir gazeteci-muhabir ile yaptığımız röportajı bu sayfalara taşımak istedik. Yaşamının kırk yılını Eynesil-Görele başta olmak üzere Giresun yöresinin her alandaki sorunlarını yerel ve ulusal gazetelere taşıyarak geçiren gazeteci-muhabir Ahmet Ceylan, bir bakıma Türk basınının taşradaki kolunun son kırk yıllık tarihinden bir yapraktır… O, bazen bir köy yolunun çamurunu, bazen bir afetin derin acılarını, bazen unutulmaya yüz tutmuş geleneklerimizi, bazen de bir bayram çocuğunun sevincini en ilginç kareler eşliğinde satırlarına dökmüştür. Onlarca köyde, zaman zaman yaylalarda, obalarda binlerce insan tanımış, sosyolojik gözlemler yapmış, yöre insanının türlü geçim meşgalelerinde nice cefalara tanıklık etmiş; sorunlara bir gazeteci olarak kalemi ve fotoğraf makinesiyle çare üretmeye çalışmıştır… Basına yaklaşık kırk yılını vermiş Ceylan'ın muhabirliğinin, yaklaşan 40. yılı için naçizane eli kalem tutan bireyler olarak üzerimize düşen görevi yerine getirmek maksadıyla Ceylan'ı Giresun'un geleceğe akan sayfalarına, bir not olarak düşmek istedik.

The early years of state television in Italy, which began transmission in 1954, have usually been viewed as crucial to the spread of mass culture through Italian society. In addition, these developments have essentially been seen in negative terms by historians and sociologists. This article explores these early years in detail for one, key, urban setting: Milan. Through an examination of the myriad and often hidden effects of television, the research attempts to draw out the contradictory and complicated impact of TV and its relationship with other media, the neighbourhood, the family, the home and daily life. The article also looks at the impact of one important quiz show in the 1950s and concludes with some reflections on the power of the media in the city in the 1990s.

The world’s first female director, producer and studio manager, Alice Guy shot several hundred films in France from 1896 to 1907, thereafter leaving
for the United States, where she continued her prolific career. Despite the importance of her contributions, she has been forgotten by society and
often omitted by historians; her works have been attributed to other artists, destroyed, or lost. Although her work is being more and more studied,
she remains an obscure figure and is often subject to sterile historiographical debates, which prevent the appreciation of her artistic vision and impede a correct analysis of her films. These debates are very interesting to examine because they crystallize many issues related to women's studies. Indeed, the career and figure of Alice Guy are subject to very different analyses. Thus, from 1910 to 1976 the interpretation is little or not gendered, then falls into progressive oblivion. The years 1976 to 1993 were marked by an almost total absence of her figure in the United States, and by superficial studies in France. The interpretation is not gendered or “essentialist”. Finally, the last phase, which goes from 1993 until today, is clearly marked by a gendered interpretation and a reappropriation of her career by feminists. The works published on her follow two contradictory goals: if some aim to revalue and legitimize her work, the others, while claiming a rigorously academic methodology, tend to deliberately minimize it.
This proposal thus wants to question, through a study of the  historiographical evolution of the interpretation of Alice Guy’s figure, the feminist claims which militate for a rediscovery of the pioneers of cinema, and this through the most diverse media. The prism of gender is decisive for understanding the sometimes-heated debates that crystallize the figure of the first female director in the world.

Neste artigo faremos reflexoes sobre as transformacoes ocorridas no cotidiano, comportamento e imaginario de cidade do Rio de Janeiro ao longo do seculo XX. Como fonte principal trabalhamos com o romance “Nunca houve um castelo” da escritora Martha Batalha, livro que narra diferentes trajetorias pessoais de personagens que vivem na cidade carioca. Das muitas personagens que fazem parte dessa obra escolhemos analisar mais detidamente as historias de Brigitta, Estela e Dalvanise que representam alguns modos de relacao com o tempo e a vida em suas diferencas sociais, culturais e de classe na cidade, seus envolvimentos com outros personagens, entretanto, tambem sao analisados com o intuito de desvelar representacoes e praticas sociais na cidade. A cidade que lembra e esquece e os sentidos e usos da memoria sao assuntos que procuramos abordar por meio da discussao acerca dessa obra do romance com caracteristicas de metaficcao historiografica.

Purpose The purpose of this paper is to present two models of human cognition. The first narrow model concentrates on the mind as an information-processing apparatus, and interactions with information as altering thought structures and filling gaps in knowledge. A second model incorporates elements of unconsciousness, embodiment and affect. The selection of one model over the other, often done tacitly, has consequences for subsequent models of information seeking and use. Design/methodology/approach A close reading of embodied engagements with pornography guided by existential phenomenology. Findings The paper develops a phenomenology of information seeking, centered primarily around the work of Merleau-Ponty, to justify a more expansive concept of cognition. The authors demonstrate the roles of affect and embodiment in document assessment and use, with a prolonged example in the realm of browsing pornography. Originality/value Models of information seeking and use need to account f...

EI presente trabajo se propone senalar algunas proposiciones teoricas y rnetooologicas elaboradas a lo largo de la realizacion del proyecto de investigacion: Incidencia de la cultura televisiva en el ambito de la escuela primaria. Encuadramos el problema de investigacion como un fenomeno de la mediatizacion de la cultura, por lo que nos propusimos construir ese concepto como un objeto de estudio de cierta relevancia para una perspectiva social centrada en la comunicacion y los medios masivos.

This article proposes an analytical shift in the theorization of public problems, from the standard (institutional) constructionist view which has informed the tradition of conceptualising social problems since Spector and Kitsuse’s classic work, to a communicative constructionist view, stemming from the mediatization paradigm. The rationale behind this shift is based on the conceptualization of the relation between various types of actors as claim makers and the logic of visibility governing processes of publicization in a media ecology marked by accelerated development. If, in the new communicational landscape, claim-making activities can turn any new-media user into a potential constructor of public problems, then we need to explain how developments in media technology reconfigure the practices of claim-making. In our understanding, such reconfigurations are just a particular case of the socio-cultural processes of transformation which are the focus of the mediatization paradigm....

O presente trabalho se propõe a instaurar um diálogo crítico com a filosofia dantiana da arte. A primeira parte do texto acompanha o desenrolar da construção teórica dos trabalhos de Danto paralelamente ao desafio de explicar as conseqüências estéticas e filosóficas das mudanças que ocorreram no cenário artístico mundial contemporâneo. Mostramos como Danto extrai implicações filosóficas dessas mudanças, colocando em pauta temas como o da liberdade artística, do pluralismo, das identidades multiculturais e da política. Contudo, problematizamos também os aspectos ideológicos presentes na relação que ele estabeleceu entre sua tese do fim da arte e a ideia do fim da história. Na segunda parte do texto, discutimos algumas intuições do próprio Danto sobre os temas acima elencados para confrontarmos sua teoria oficial com a especificidade da produção local de identidades artísticas periféricas. Finalmente, procuramos indicar como alguns elementos renovados da Teoria Crítica da Sociedade po...

This article explores the mediatization of birthdays and anniversaries through the concept of “on-this-date” media as a way to understand the representation and circulation of media content that occurred in previous years, on that exact date. Drawing on journalism studies and mediated memory work, I argue that past events are made relevant and then irrelevant through a frame of on-this-date media. By juxtaposing Facebook Birthdays and Memories with the Associated Press’s “Today In History” feed, I analyze the multiple temporalities at work across analog and digital media platforms. Drawing on Keightley’s zones of intermediacy, I examine how time is mediated through the textual, technological, and social aspects of media, in sometimes conflicting ways. Thus, this article seeks to contribute to our understanding of mediatization by examining how media institutions structure, organize, and represent mediated temporalities.

This paper explores the idea of virtual participation through the historical example of the republic of letters in early modern Europe (circa 1500-1800). By reflecting on the construction of virtuality in a historical context, and more specifically in a pre-digital environment, this paper calls attention to accusations of technological determinism in ongoing research concerning the affordances of the Internet and related media of communication. It argues that 'the virtual' is not synonymous with 'the digital' and suggests that, in order to articulate what is novel about modern technologies, we must first understand the social interactions underpinning the relationships which are facilitated through those technologies. By analysing the construction of virtuality in a pre-digital environment, this paper thus offers a baseline from which scholars might consider what is different about the modes of interaction and communication being engaged in via modern media.

NB: A revised version of this paper appears as a chapter in the volume The Long History of New Media: Technology, Historiography, and Contextualizing Newness, edited by David W. Park, Nicholas W. Jankowski, and Steve Jones (New York: Peter Lang, 2011).

Presso l’antica biblioteca dell’Università degli Studi Link Campus University di Roma, durante le giornate del 28 e 29 settembre, si terrà il convegno “When Cinema meets EU-rope. Valori e narrazioni dell'Europa: un percorso attraverso i media”.

Il convegno fa parte delle attività promosse dal progetto europeo “Ciak-EU!, EU-rope through films: History, identity, and policies” (Progetto Erasmus + Jean Monnet CHAIR)

This project concerns the different aspects of interactive storytelling and produsage. The goal of the thesis is to investigate whether it could be seen as a new way of telling stories or whether it is an old way of telling stories disguised as something revolutionary. This will be done by examining and analyzing the webseries "Mosaic" (2018) and "That Moment When" (2017) and the novel "Rifbjergs Lytterroman" (1972). We include the works of American game designer, Chris Crawford, American professor of Communication, Henry Jenkins, and Australian professor of Communication and Media Studies, Axel Bruns, in order to analyze the elements and levels of interactivity and produsage seen in the chosen works. We also choose to discuss the British writer Douglas Adams who argues against the idea of interactive storytelling and produsage as groundbreaking because he believes that these ways of telling stories already existed but 'went to sleep' only to return in a new and better version. Our findings regarding the webseries and novel show elements of interactive storytelling and produsage in all three objects even though "Rifbjergs Lytterroman" is significantly older than the two webseries. Therefore, we find it possible to discuss whether produsage and interactive storytelling is brand new or old genres benefitting from new technology. It is the conclusion of this thesis that neither produsage nor interactive storytelling are able to be categorized as completely new ways of telling stories, but rather that they have adapted to a new media culture.

What kind of female characters are created in the most gender equal period in Norwegian film? This question makes the starting point for an analysis of three feature films that premiered in Norway in 2021, all of which portray rebellious female protagonists with artistic ambition, as well as the acute processes this revolt leads the characters into. The films are Ninjababy directed by Yngvild Sve Flikke, Gritt directed by Itonje Søimer Guttormsen and The Worst Person in the World by Joachim Trier, directors who have all expressed a wish to widen the range for female roles in Norwegian film.

With feminist theory as a driving force, and the development of women's roles in Norwegian film as a historical backdrop, I have sought to find out how the protagonists in these films make use of their so-called “monstrous-feminine” qualities in a form of revolt, and how this representation places the films in a historical-feminist context. To answer this question, I have assessed the way in which the films represent appearance, body, and conversation, the individual, community and “otherness”, and whether and how the films make use of irony and “cringe” aesthetics.

Although the analysis shows that all of these films may be termed “Feminist New Wave film,” the nuances are significant: Where Ninjababy and Gritt both inscribe themselves in a Norwegian feminist film tradition, especially through numerous conversations between women, Ninjababy is that film which to the greatest extent proposes an alternative social order through new family forms. With its clear class awareness and through several encounters with “alterity”, Gritt meanwhile opens up for more of an intersectional reading than the other two films, while also channeling a critique of how neoliberal society leaves the “unsuccessful” individual to fend for herself. Meanwhile, The Worst Person in the World appears as a film that is itself somewhat characterized by neoliberal values – not least through its more distant portrait of a somewhat lonely protagonist who only manages to liberate her monstrous-feminine inner self under the influence of hallucinogens.

Thus, we may also see the contours of a Norwegian “Feminist New Wave Film,” whose female protagonists use their “otherness” as a force for change. Their revolt may cost them blood and suffering, but on the other side they appear freer than before, and ever more creative.

The thesis is written in Norwegian.

SAMMENDRAG:

Hva slags kvinneroller skapes i det som er den historisk mest likestilte perioden i norsk film? Spørsmålet danner utgangspunktet for en undersøkelse av tre spillefilmer som hadde premiere i 2021, som alle viser opprørske kvinnelige hovedpersoner med kunstneriske ambisjoner, og som skildrer de tilspissede fysiske prosessene dette opprøret fører karakterene inn i. Filmene er Ninjababy regissert av Yngvild Sve Flikke, Gritt av Itonje Søimer Guttormsen og Verdens verste menneske av Joachim Trier, tre regissører som alle har uttrykt et ønske om å utvide paletten for kvinneroller i norsk film.

Med feministisk teori som motor og utviklingen av kvinneroller i norsk film som et historisk bakteppe, har jeg forsøkt å finne ut hvordan hovedpersonene i disse filmene bruker sine såkalte «monstrøst-feminine» egenskaper i en form for opprør, og hvordan denne representasjonen plasserer filmene i en historisk-feministisk kontekst. For å finne svar på dette, har jeg vurdert filmenes skildring av utseende og kropp, samtale, individ, samhold og «annerledeshet», og hvordan de eventuelt bruker ironi og cringe/«pinlighetsestetikk».

Selv om analysen viser at samtlige filmer kan defineres med Barbara Creeds begrep «feministisk nybølgefilm», er det med til dels store nyanser: Der Ninjababy og Gritt begge skriver seg inn i en norsk feministisk filmtradisjon, særlig gjennom mange samtaler kvinner imellom, er Ninjababy den filmen som i størst grad foreslår en alternativ samfunnsorden gjennom nye familieformer. Gjennom en tydelig klassebevissthet og møter med «annerledeshet», åpner Gritt i større grad enn de andre filmene for en interseksjonell lesning, samtidig som filmen kanaliserer en kritikk av hvordan det nyliberalistiske samfunnet overlater det «mislykka» individet til seg selv. Med en større avstand til hovedpersonen framstår Verdens verste menneske imens som en film som selv er preget av nyliberalistiske verdier – blant annet gjennom ensomheten til hovedpersonen, som kun i sterk rus klarer å fri seg fra utenfrablikket og frigjøre sitt monstrøst-feminine indre.

Også i norsk kontekst kan vi altså se konturene av en feministisk nybølgefilm, der kvinnelige hovedpersoner bruker sin «annerledeshet» som en forandringens kraft. Opprøret koster dem både blod og pinsel, men på den andre siden er de både friere og mer skapende enn før.

"Entre août 1936 et mars 1938 se tiennent les trois procès retentissants au cours desquels la méthode stalinienne va se faire jour dans toute sa cruauté. Ici, d’anciens cadres bolcheviks vont être inculpés pour diverses « trahisons » inventées et reconnaître leurs « méfaits » sous la torture. La suite ? La mort."

Les procès de Moscou vus par la presse française de l'époque. Un article pour RetroNews, revue en ligne de la BNF.