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Erschienen in:
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2020 | OriginalPaper | Buchkapitel

7. Cultural Memory and Screen Culture

How Television and Cross-Media Productions Contribute to Cultural Memory

verfasst von : Berber Hagedoorn

Erschienen in: Information Storage

Verlag: Springer International Publishing

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Abstract

In the modern, overabundant information landscape, information is accessible on and across multiple media platforms and screens, making television and audiovisual memory ever more available. How do the creative practices of media professionals contribute to cultural memory formation today? What is the role of using audiovisual archives to inform and educate viewers about the past? And how can researchers study these dynamic, contemporary representations of past events, and the contribution of audiovisual sources to cultural memory? In this chapter, I consider how new forms of television and cross-media productions, collected in and distributed by audiovisual archives, affect the medium television as a practice of cultural memory in the multi-platform landscape. I zoom in on the role of creative production practices (so-called screen practices) and their social aspects in the construction of memory, in relation to the increasingly dynamic and multi-platform medium that television has become today, and present a dynamic model for studying contemporary television and screen culture as cultural memory.

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Vorheriges Kapitel On “Storing Information” in Families: (Mediated) Family Memory at the Intersection of Individual and Collective Remembering
Nächstes Kapitel The Complicated Preservation of the Television Heritage in a Digital Era
Fußnoten
1
This article is based on a part of chapter 7 from my dissertation: Hagedoorn [25]. The model of television as a hybrid repertoire of memory and connected reflections were previously introduced in: Hagedoorn [23].
 
2
See also: Plate [43].
 
3
See amongst others: [6, 9, 36].
 
4
Doane [10] (For a foundational reading of television’s essential liveness, see: Feuer [22]).
 
5
Holdsworth’s criticism in this context is particularly directed towards Patricia Mellencamp’s edited collection Logics of Television: Essays in Cultural Criticism (Bloomington: Indiana University Press, 1990); specifically the essays by Mary Ann Doane ‘Information, Crisis, Catastrophe’, Patricia Mellencamp ‘TV Time and Catastrophe, or Beyond the Pleasure Principle of Television’, and in a lesser manner Stephen Heath ‘Representing Television’ and Margaret Morse ‘An Ontology of Everyday Distraction: The Freeway, the Mall and Television’. See: Holdsworth [32].
 
6
Pajala’s criticism in this context is particularly directed towards: [30, 33]. See: Pajala [41].
 
7
Given its ephemeral nature, television is still largely viewed as disposable culture […] [49].
 
8
Television is considered by many people to be a stable technology without opportunities for further innovation [40]. See also: The isolated TV set; the picture box cut off from culture [8].
 
9
See also: Nikkel [39].
 
10
For a discussion of the possible ‘hazards’ of the increased digitization of memory, see: Van House [55].
 
11
See for example: Hagedoorn [24].
 
12
See also: Edgerton [12].
 
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Metadaten
Titel
Cultural Memory and Screen Culture
verfasst von
Berber Hagedoorn
Copyright-Jahr
2020
Buch
Information Storage

Print ISBN: 978-3-030-19261-7

Electronic ISBN: 978-3-030-19262-4

Copyright-Jahr: 2020

DOI
https://doi.org/10.1007/978-3-030-19262-4_7