Television Archives

Come accaduto in molti altri Paesi europei, la televisione italiana ha subìto numerose trasformazioni nel passaggio dall’analogico al digitale terrestre. Il processo di spegnimento del segnale analogico, cominciato in alcune regioni pilota nel 2008, è stato completato, attraverso tappe successive, su tutto il territorio nazionale nel 2012.
La digitalizzazione genera numerosi effetti sia sulla produzione e sulla distribuzione, modificando l’organizzazione del sistema tv italiano nel suo complesso, sia sul consumo, favorendo la diffusione di nuove forme di visione . Tra le principali conseguenze di questo passaggio è particolarmente rilevante l’ampliamento dell’offerta gratuita di contenuti televisivi, con la nascita di nuovi canali digitali sviluppati dai network commerciali (come Mediaset e Telecom Italia Media), da operatori pay che entrano così in un nuovo mercato (come Sky Italia e Discovery Networks) e, infine, dal broadcaster di servizio pubblico (Rai – Radio Televisione Italiana). [...]

in/appropriate, ir/retrievable: dragging out singapore's queer televisual archives abstract The sketch comedies Ra Ra Show (1993–1994) and the character of Liang Ximei of Comedy Night (1993–2000), performed by cross-dressing male entertainers, were prominent on Singapore television during the 1990s. However, the former was cancelled following complaints about its sexual innuendos and non-standard colloquial English or Singlis. The latter, caricaturing the desexualized 'wholesome' middle-aged housewife (commonly addressed as 'auntie' in Singapore), continues to endear the public. Two decades later, as television archives, the contrast between the two productions can be seen in the extent of their availability to the broader public. Unlike the continued ubiquity of Liang Ximei, Ra Ra Show remains largely unavailable despite fond collective memories. Against this backdrop is that of a highly interventionist state active in maintaining heteronormative ideals on the small screen. Through the study of the trajectories of these two productions, this article draws out the trajectory of televisual queer texts in Singapore from the in/appropriate stages of screenings to their ir/retrievability as queer archives.

THE ONLINE SITE IS NOT AVAILABLE FOR THE MOMENT BUT DO GET IN TOUCH IF I CAN HELP WITH PD INFORMATION OR TO DEVELOP THE ARCHIVE.

I'VE UPLOADED THE REPORT ON THE ARCHIVE HOLDING PREPARED BY IEUAN FRANKLIN.

http://www.philipdonnellan.co.uk/

The aim of this project is to evaluate and advertise the work of Philip Donnellan, an innovative and socially committed documentary filmmaker.

Philip Donnellan worked as a documentary filmmaker for the BBC in Birmingham from the mid 1950s. A pioneer in giving working people and minorities a voice on television, Donnellan was a maverick who challenged the establishment through his work and ruffled feathers. By way of example, the BBC has never transmitted what, nonetheless, is one of his best-known works, 'The Irishmen'. 

He used his position in the BBC as a documentarist in order to portray and to engage with various traditions, cultures and identities in the region. His innovation and the instructive value of his work and ideas lies in how it explored the lines of change, communication and migration that forged the post-war character of the region - in films such as 'The Colony' and the aforementioned 'The Irishmen'. His practice came from a commitment to public service broadcasting and the possibilities of truly regional production.

Throughout the online site is information about Donnellan's life and work, his importance and projects designed to recognise his contribution to TV documentary.

The online site is intended to act as a focal point for those interested in this work and exhibitors interested in organising individual screenings of his work and retrospectives.

It will serve to support the consolidation, exploration and funding of the Philip Donnellan Archive which is deposited at the Birmingham City Archive (http://www.birmingham.gov.uk/archives).

We would like to hear from anyone with an interest in Donnellan, documentary and TV, former colleagues, anyone who owns materials likely to be of value to the Donnellan Archive, researchers, funders, publishers etc.

The website was established out of collaboration between the family of Philip Donnellan, Banner Theatre (http://www.bannertheatre.co.uk) and BCU. It was made possible by the financial support of Screen West Midlands (http://www.screenwm.co.uk).

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Traditionally, broadcast archiving in Germany lies in the responsibility of the broadcasting institutions. As early as in the 1980s, serious public criticism emerged against this politically supported arrangement, focussing on the consequences of the domination of production orientation in the broadcasting archives:
the lack of public control, fragmentary collections and limited access opportunities for scientific and cultural purposes. In the digital age, the management of the broadcasting heritage has to deal with overarching issues in the assessment, preservation and use of archival assets, including the systematic collection of context material, the demand-based digital long-term preservation or legal restrictions for accessing archive material for scientific, educational and cultural work. Recently, there are signs of a rethinking process in public broadcasting to take their cultural mission seriously also with respect to their archives. However, the prospects of this process are connected with complex challenges.

Die Rundfunkarchivierung in Deutschland liegt traditionell in der Eigenverantwortung der Sender. Schon in den 1980er Jahren formierten sich Kritiker gegen diese medien- und kulturpolitisch gestützte Regelung und prangerten die Folgen der dominanten Produktionsorientierung in der Rundfunkarchivierung an: Fehlende öffentliche Kontrollmöglichkeiten, lückenhafte Bestände und eingeschränkte Zugriffsmöglichkeiten für wissenschaftliche und kulturelle Zwecke. Im digitalen Zeitalter hat die Verwaltung des Rundfunkerbes mit übergreifenden Problemen bei der Bewertung, Bewahrung und Benutzung von Überlieferungen zu kämpfen, u.a. bei der systematischen Erfassung von Kontextüberlieferungen, der bedarfsorientierten digitalen Langzeitarchivierung oder rechtlichen Einschränkungen bei der Zugänglichmachung von Archivalien für die Wissenschaft, Bildungs- und Kulturarbeit. Jüngst gibt es Anzeichen für ein Umdenken in den Rundfunkanstalten, ihren öffentlichen kulturellen Auftrag auch mit Blick auf den Zugang zu ihren Archivbeständen ernst zu nehmen. Dabei sind die Perspektiven mit komplexen Herausforderungen verbunden.

I am here today to talk about the rediscovery of almost 200 missing television programmes as a result of the University of Ulster’s collaboration with UTV Media. I’ll briefly outline how this material came to be lost, how it found, detail some significant finds, and briefly discuss broader issues with regard to the preservation of such material in Northern Ireland.

The Media Archive for Central England (MACE) is the screen archive for the Midlands in the UK.

A registered charity, MACE exist to preserve the moving images of the East and West Midlands and provide affordable public access to this material through our website, public screenings, exhibitions, educational workshops and community projects.

We are one of six Accredited Archive Services.

MACE is a team of Nine experienced professionals. We are governed by a board of directors who are also trustees of the charity.

We are part of a network of public moving image archives that collectively preserve the UK’s moving image heritage. We are also an integral part of the network of public archives and record offices across the Midlands.

MACE is a non-profit making company limited by guarantee and an independent registered charity.

Our Mission Statement


MACE is an accessible organisation connecting people with the preserved moving image heritage of the Midlands.
MACE does this by:

• selecting and acquiring, researching, cataloguing, curating and developing a collection of moving images and related materials which inform our understanding of the history and culture of the midlands.

• working to ensure that this collection is accessible both permanently and widely through the application of our preservation and curatorial skills.

MACE is a not-for-profit organisation providing:

• public repository services
• professional advice on the care and preservation of this heritage (film, video and digital materials)
• support for community-based events
• support for collection-related research

MACE is proactive in ensuring that our services and our collections provide the maximum public benefit.

MACE recognises the importance of partnership in creating new opportunities and new contexts for public access, especially with the education, heritage and knowledge sectors.

MACE recognises the need to improve and extend continuously our professional archival skills.

MACE is part of a network of regional and national archives ensuring that we can bring our services and our collections to the UK as a whole.

Adduci Spina, Elina; Arratia, Amira; Castro Arias, Carlos Eduardo; Choque, Rubén Darío; Malán, Fabricia; Mejorada Chauca, Francisco; Rodríguez Reséndiz, Perla Olivia (2022). “Patrimonio radiofónico y televisivo en riesgo” en Rodríguez Reséndiz, Perla Olivia; Brausin Pulido, Dora Alicia (coords), Los caminos de la ritualidad para la preservación de la memoria sonora y audiovisual. Colombia: Radio Televisión Nacional de Colombia; Red Iberoamericana de Preservación Digital de Archivos Sonoros y Audiovisuales [ISBN 978-958-99248-9-1]

in/appropriate, ir/retrievable: dragging out singapore's queer televisual archives abstract The sketch comedies Ra Ra Show (1993–1994) and the character of Liang Ximei of Comedy Night (1993–2000), performed by cross-dressing male entertainers, were prominent on Singapore television during the 1990s. However, the former was cancelled following complaints about its sexual innuendos and non-standard colloquial English or Singlis. The latter, caricaturing the desexualized 'wholesome' middle-aged housewife (commonly addressed as 'auntie' in Singapore), continues to endear the public. Two decades later, as television archives, the contrast between the two productions can be seen in the extent of their availability to the broader public. Unlike the continued ubiquity of Liang Ximei, Ra Ra Show remains largely unavailable despite fond collective memories. Against this backdrop is that of a highly interventionist state active in maintaining heteronormative ideals on the s...

L'arxiu de TV3 i Catalunya Ràdio disposa d'un compte propi de Twitter des del 20 de febrer del 2016 i fa poc ha complert un any de vida. L'experiència al llarg d'aquest any ens ha servit principalment per connectar amb els usuaris i obrir una petita finestra a la comunitat. També ha esdevingut el principal canal de petició de les còpies privades, consultes i suggeriments.

Proteggere i propri beni, accatastarli indiscriminatamente: sono le due facce dell’avarizia, istinto di conservazione e di confusione insieme. Vale anche per la tv, che – proprio come i collezionisti di cui riempie i suoi factual – mette i suoi tesori da parte, come uno Scrooge qualsiasi. Ma le cose cambiano.