History on Television

This article examines the treatment received by the Messenians after their conquest and hilotization by the Spartans. Turned collectively into slaves-allegedly state-owned-they were geographically dispersed, physically and psychologically humiliated, killed, and subjected to economic and military exploitation. In rare and highly circumstantial cases, the Lacedaemonian state, driven by wartime needs, granted them freedom-though never citizenship-as a reward. The Messenians' fate was never forgotten. On the contrary, it became the subject of intense debate in Greek thought between those who sought to justify it and those who condemned it, even long after their liberation by Theban general Epaminondas. In the Western tradition, the mistreatment of the helots became, on the one hand, a lasting paradigm of slavery in the ancient world, which was often contrasted with and measured against the supposedly more paternalistic and less brutal early modern and modern slavery. On the other hand, the label helots came to be used as a metaphor for particularly oppressed, marginalized, or discriminated populations.

El artículo pone en diálogo la contingencia política de la postdictadura chilena y las estrategias desarrolladas por la industria televisiva en Chile desde inicios de los años noventa del siglo pasado, para re-hilvanar el imaginario colectivo nacional. Se profundiza en la “época dorada de las teleseries en Chile”, como un modelo de producción de ficción popular que levantó una serie de códigos para hablar de la riqueza y diversidad sociocultural nacional en pos de un proyecto fallido de reconciliación para el país.

Con frecuencia la instauración de determinado arte monumental conlleva el intento social u oficial de instaurar símbolos de un pasado determinado rememorado en el presente, de modo que estas marcas dejen una huella en la identidad ciudadana, la memoria colectiva y la conciencia social 1. Históricamente la instauración de monumentos es un ejercicio de poder a través del espacio de dominio público que no deja lugar a discursos divergentes entre emisores y receptores. No obstante, ante esa limitación surgen grupos de oposición política y social y de ciudadanos que generan diversos medios para insertar la interacción, resignificar o incluso destruir los valores, ideas y símbolos que estos monumentos intentan establecer. Ese ha sido el caso del Valle de los Caídos, hoy Valle de Cuelgamuros tras su intervención estatal. El Valle de los caídos es una serie de estructuras de tipo monumental que se alzan en la Sierra de Guadarrama cerca del monasterio El Escorial. Se compone a grandes rasgos de una basílica, una abadía y una cruz monumental adornadas por una serie de esculturas y obeliscos levantados a un costo estimado de 248 millones de dólares entre 1940-1959.

En este país ya nadie quiere una guerra civil, nadie tiene mentalidad de revancha, nadie tiene mentalidad de venganza, aunque nadie tiene tampoco, no nos engañemos, mentalidad de olvido. Hay que conocer la guerra civil, pero no desde luego para actividades o actitudes de revanchismo, de incomprensión, de intolerancia, de acusación, sino para comprender la historia". (Tomás y Valiente, 1987) El mejor instrumento para lograr en una sociedad de derecho, el consenso y el respeto, es el conocimiento de su historia. Anotar las palabras de Tomás y Valiente en este trabajo está motivado por la permanente actualidad de su pensamiento, al que he acudido para desarrollar estas líneas.

There has long been a debate over where the British went ashore on the 26 th of January 1788, to establish a permanent settlement on Australian soil-did they land on a sandy beach on the east side of the stream, or was it on a rock platform on the west? This newsletter summarises the evidence that has come to light over the past decade or more, which establishes that the landing probably occurred on the west side.

El intercambio de opiniones y referencias versó sobre la relevancia de los Beatles y su impacto en varias generaciones gracias a la calidad musical de sus composiciones y arreglos, además de la entrañable poesía de algunas de sus letras. Mensajes con melodías adorables que han impactado la memoria sonora desde los años sesenta hasta nuestros días.

El que hoy, a las puertas del siglo XXI podamos disfrutar todavía de varias razas autóctonas, se debe por wm parte a la peculiar orografia de su superficie, con val les abmptos y cerrados, y por otro lado a la especial sensibilidad de sus ganadero , proclives a consen•ar sus razas autóctonas como un legado de sus antepasados, lo cual supone una pane importante del patrimonio cultural. En este articulo voy a tratar de exponer la pa1te legislativa, que es la •'más árida'' en los relativo al apasionante mundo de las razas autóctonas. Decretos que abordan nuestras razas, la fec ha de publicación de sus libros genealógicos. las entidades que trabajan en la C.A. V. cOJJ estos animales. lineas de trabajo, etc.

Memory is unthinkable without media (Erll, 2011). However, the barrage of literature that has tackled the issue of memory media is extremely significant, especially memory in relationship to Television. One of the central issues vastly discussed by media and memory scholars is how television wrests and supersedes memories or even creates “new memories”. Over a decade, one of the well-known Moroccan travel television programs called “Amoudo/ⴰⵎⵓ ⴷⴰⵎⵓ ⴷ” (Travelling) has been able to make known some hidden aspects of Morocco and to trigger the remembrance of certain forgotten elements of Moroccan culture. One palpable effect of this travel television program is the creation of intimacy between travelling and memory. I would like to argue that “Amoudo” is a kind of non-human remembrance of elements that have already been erased from Moroccan collective memory during the tight grip period of the state over the national discourse and media. I would also like to explore how this travel television program was able to engage viewers’ memories rather than wrest or supersede them.

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This article analyses the origins of ike popular BBC TV crime programme, Crimewatch UK, and ike initial constraints that have shaped its subsequent evolution. Crimewatch's selection criteria put it firmly in the camp of popular journalism and relate closely to the need to hold a large audience. The programme has broken new ground in British television's cooperation with the police: the production team is given an unusual measure of access to the details of cases under investigation. Furthermore, in drawing upon the vogue for audience participation Crimewatch UK has sought to bring about a new relationship between the police and the viewing public by its attempt to mobilize public responses. This shift has now been emulated by other programmes in the new genre such as Crimestoppers and Crime Monthly. Apart from a two-month summer break, Crimewatch UK is broadcast monthly on the BBC's main channel, BBC1. Since 1984, when the programme was first launched, it has regularly attracted an audience of between nine million and thirteen million viewerswith no signs of falling popularity-and has enjoyed a very high audience appreciation rating. Each month a selection of crimes is portrayed using a variety of televisual techniques including reconstructions, photofits and security videos of robberies in progress, and the audience is invited to assist the police with their enquiries by providing relevant information. The idea of using television to make such public appeals is not new. For some thirty years a programme called Police Five, fronted by Shaw Taylor, has been running in the London area. But this is a five-minute slot, more like a short news bulletin than a fully fledged programme, with little scope for televisual inventiveness and none at all for audience participation. A more recent and even shorter version of this is Crimesloppers, which makes thirty-second and one-minute appeals concerning a given crime. This format has been imported from the United States. In North America, as Carriere and Ericson (1989) have shown, such programmes have been sustained by collaboration between the police, the news media, and private corporations. Crimes covered by Crimesloppers are specific to the ITV regions, some of which have had their own special slots

300: Rise of an Empire (Noam Murro, 2014) is the first film that brings the Battle of Salamis to the screen. As in its predecessor, 300 (Zack Snyder, 2006), the film dramatizes the Persian Wars by establishing an orientalist opposition between Greeks and Persians. The former are associated with “decent government” and “freedom” while the latter with “tyranny” and “slavery”. Drawing on two other films that fictionalize the Persian Wars, The Giant of Marathon (Jacques Tourneur, Bruno Vailati and Mario Bava, 1959) and The 300 Spartans (Rudolph Maté, 1962), the following pages analyze the ideological discourse that arises by choosing this perspective to represent the two sides of the conflict. In addition, the value attributed to the Battle of Salamis as a decisive event for the victory of the Greek side in these films is evaluated.

Los discursos históricos en el cine, por lo general, han dado lugar a géneros cinematográficos. En el cine de ficción chileno, sin embargo, resulta necesario estudiar dichos discursos desde otro prisma. Este artículo propone tres estrategias estéticas por medio de las cuales las películas chilenas de ficción producen efectos de verosimilitud y se apropian de los discursos históricos: el comentario contextual, el refuerzo hegemónico o contrahegemónico y la subordinación narrativa.

Durante más de dos décadas el Valle de los Caídos fue el destino de miles de cuerpos trasladados desde cementerios y fosas comunes repartidos por toda la geografía  española.  Pese  a  su  continuidad,  no  fue  un  proceso  uniforme.  Esta  investigación  propone  una  primera  cronología  a  partir  de  la  documenta-ción  generada  por  los  organismos  responsables  de  la gestión del monumento y los traslados. A partir de los datos existentes se analiza la procedencia de los cuerpos, la tipología de los traslados en función de  su  formato  (individualizados  o  en  urnas  colec-tivas) y del volumen de las expediciones, así como los datos relativos a su identificación y la causa de la muerte que atestiguan las dificultades que el ré-gimen hubo de sortear, y las estrategias que se vio obligado  a  desarrollar,  para  conseguir  llenar  el  mausoleo proyectado por el dictador.Palabras claveValle de los Caídos, franquismo, exhumaciones, fosas comunes,  cronología

Abstract
For more than two decades, the Valle de los Caí-dos  was  the  destination  of  thousands  of  bodies  transferred from cemeteries and mass graves scat-tered throughout the Spanish geography. Despite its continuity, it was not a uniform process. This research  proposes  a  first  chronology  based  on the  documentation  generated  by  the  bodies  re-sponsible  for  the  management  of  the  monument  and the transfers. Based on the existing data, the origin  of  the  bodies,  the  type  of  transfers  based  on  their  format  (individualized  or  in  collective  urns)  and  the  volume  of  shipments  are  analysed,  as well as the data related to their identification and the cause of death that attest to the difficul-ties  that  the  regime  had  to  overcome,  and  the  strategies  that  it  was  forced  to  develop,  in  order  to  fill  the  mausolem  projected  by  the  dictator.KeywordsValle de los Caídos, francoism, exhumations, mass graves, chronology

Sumario: 1. El País Vasco a inicios del siglo XIX. 2. El Trienio Liberal. 2.1. La instalación del liberalismo en el poder: la Carta Pastoral de Luis de Borbón, de 15 de marzo de 1820. 2.2. Los sermones en defensa de la Constitución. 2.3. La extensión de la cultura política: los catecismos políticos. 2.4. La defensa del régimen liberal: la Milicia Nacional. 3. Primera Guerra Carlista: prensa y propaganda. 3.1. Las iniciativas liberales. 4. La construcción del Estado Liberal y la respuesta de las instituciones forales. Contrapropuesta carlista. 5. La literatura antiliberal de fin de siglo.

This chapter discusses the career of Steven Pritzker. Although many creators tend to stay within their respective domains throughout their careers, and scholars tend to be grounded in academics, Pritzker started in the arts and later recreated himself as an applied scholar of creativity. He began his career as a comedy writer in network television, working his way from Executive Story Editor of the Emmy winning Room 222 and the Mary Tyler Moore Show to eventually becoming Executive Producer on subsequent sitcoms. In the 1990s, Pritzker left television to pursue a doctorate in educational psy- chology. With backgrounds in business and counseling, Pritzker engaged topics ranging from organizational culture and expressive arts to substance abuse and humanistic therapies. He applied his expertise to writing, teaching, and life coaching, before founding the Master and Doctoral Specializations in creativity studies at Saybrook University. Pritzker conceived and became Co- Editor-in-Chief of the Encyclopedia of Creativity, a comprehensive work currently in its third edition, which provides a wealth of information on crea- tivity research. Pritzker is a Fellow and served as President of the American Psychological Association’s Division 10, Psychology of Creativity, Aesthet- ics, and the Arts.

Durante más de dos décadas el Valle de los Caídos fue el destino de miles de cuerpos trasladados desde cementerios y fosas comunes repartidos por toda la geografía española. Pese a su continuidad, no fue un proceso uniforme. Esta investigación propone una primera cronología a partir de la documentación generada por los organismos responsables de la gestión del monumento y los traslados. A partir de los datos existentes se analiza la procedencia de los cuerpos, la tipología de los traslados en función
de su formato (individualizados o en urnas colectivas) y del volumen de las expediciones, así como los datos relativos a su identificación y la causa de la muerte que atestiguan las dificultades que el régimen hubo de sortear, y las estrategias que se vio obligado a desarrollar, para conseguir llenar el mausoleo proyectado por el dictador.

En el año 480 a.C., se produjo la batalla de las Termópilas, en el que una coalición de contingentes griegos, a lo largo de tres días, detuvo la maquinaria bélica del Gran Rey Jerjes, pese a su aplastante superioridad numérica. Los autores helenos, como Heródoto, proporcionaron su punto de vista respecto de la pugna, celebrando el sacrificio de los espartanos y resaltando algunas supuestas acciones de barbarie de los soldados Aqueménidas. A partir de la segunda mitad del siglo pasado, los medios de comunicación de masas tematizaron aquel acontecimiento y bebieron de las fuentes clásicas para elaborar su propia versión de los hechos. En este trabajo, hemos analizado dicha batalla, fundamentando nuestra investigación en el análisis de las fuentes originales griegas y en la producción científica. Proponemos un estudio comparado examinando a la vez la reconstrucción histórico-académica y aquella virtual, acudiendo principalmente a la novela gráfica 300 de Frank Miller, a la homónima película de Zack Snyder y al videojuego Assassin’s Creed: Odyssey. Así, hemos puesto en evidencia la gran cantidad de elementos y detalles históricos, sociales y culturales que estos títulos pueden contribuir a difundir entre el gran público, aprovechando también una de sus funcionalidades esenciales, es decir, el entretenimiento. Por tanto, hemos puesto de relieve sus posibles implicaciones pedagógicas, conforme a la locución horaciana miscere utile dulci.

This series focuses on works specializing in gender analysis, women's studies, literary interpretation, and cultural, political, constitutional, and diplomatic history. It aims to broaden our understanding of the strategies that queens-both consorts and regnants, as well as female regents-pursued in order to wield political power within the structures of male-dominant societies. The works describe queenship in Europe as well as many other parts of the world, including East Asia, Sub-Saharan Africa, and Islamic civilization.

There have been attempts to relate national characteristics "by reference to climate, habitat and soil and investing the collective subject with psychological attributes" for over two millennia. 1 More recently historians of modern nationalism developed elaborate typologies often citing Martin Heidegger's arguments that "the being of the human finds its essence in the being of place-the belonging together of being and topos" [MALPAS 2012 : 5-6]. And yet the challenge to the ontological connection between self and place, what Jeff Malpas describes as the "topological analysis of self and identity", has a long philosophical tradition, too. This debate over experience, biography and nation has implications for historians who have raised empirical questions about the development of collective sensibilities over time among recent emigrant peoples, their physical peculiarities, behaviourial quirks and emergent national character. In this paper I consider the role that biography writing played in the construction of an Australian national identity geared to what Pierre Nora famously termed as the "roman national", or the collective discourse on the history of the nation and its place in the world. 2 I argue that Australian historians played a significant role in the history of biography writing and, related to it, the debate over collective Australian identity. Nora also considered the relationship between the historian and the writing of history, something he termed as "ego histoire". The fraught development of Australian historians writing "their own history" is clear in the biography of Keith Hancock (1898-1988). Generally regarded as Australia's "most distinguished historian", he was born in Melbourne in 1898, three years before the Commonwealth of Australia was established in 1901, attended the University of Melbourne and graduated from Balliol College in 1922 as a Rhodes Scholar to become the first Australian to gain a Fellowship at All Souls, Oxford [O'BRIEN]. He was Professor of History at the University of 1 Raphael Samuel, in Island Stories [8-9] traces such "epical history" on the idea of nation to Hippocrates c. 460 BC. 2 For a broader discussion of Pierre Nora's ideas, and "Nation" in Francois Furet and Mona Ozouf's Dictionnaire Critique de la Révolution Francaise [801-804], see ENGLUND.

In this thesis the lives of Henry VIII's three sons, Prince Henry, Henry Fitzroy and Edward VI, will be analysed using counterfactual history as the research method. The aim is to research what effects them not dying prematurely might have had on England's history and how these effects would be visible in England today. Several different alternative scenarios are introduced, and their plausibility is analysed critically. This thesis concludes that the deaths of Henry VIII's sons altered the history of England drastically. Prince Henry's survival would have altered history the most as him surviving would have resulted in England not going through the Protestant reformation during Henry VIII's reign and therefore remaining Catholic. Henry Fitzroy's role is considered to be major as he is regarded as a potential King of England, regardless of his illegitimacy. Finally, Edward VI's survival would have resulted in a smoother transition of power and it would have saved the people of England from the religious conflicts of the 1550s. Ultimately, all the scenarios would have made the Tudor era longer and changed the way the Tudors are remembered today. Tiivistelmä Tässä kandidaatintutkielmassa tutkitaan Englannin kuningas Henrik VIII:n kolmea poikaa, prinssi Henrikiä, Henrik Fitzroyta ja Edvard VI:ta ja heidän elämiään. Tutkimusmenetelmänä käytetään kontrafaktuaalista historiaa. Tutkielman tarkoituksena on tutkia, millaisia vaikutuksia poikien ennen aikaisella kuolemalla oli ja miten heidän selviytymisensä olisi muuttanut historiaa ja miten muutokset näkyisivät nykypäivän Englannissa. Useita eri vaihtoehtoisia skenaarioita esitellään ja niiden todennäköisyyttä analysoidaan kriittisesti. Tutkielmassa todetaan, että poikien ennenaikaisilla kuolemilla oli suuri vaikutus Englannin historiaan. Prinssi Henrikin selviäminen olisi johtanut siihen, että Englannissa ei olisi tapahtunut protestanttista reformaatiota Henrik VIII:n ollessa kuningas. Henrik Fitzroyn roolia pidetään merkittävänä ja hänet nähdäänkin potentiaalisena Englannin kuninkaana, aviottomuudestaan huolimatta. Edvard VI:n selviytyminen olisi tehnyt kruunun periytymisestä mutkattomampaa ja samalla Englanti olisi säästynyt uskonnollisilta konflikteilta 1550-luvulla. Kaiken kaikkiaan skenaarioiden lopputulema olisi ollut se, että Tudor-suvun valtakausi Englannissa olisi ollut pidempi ja se kuva, mikä ihmisillä suvusta nykyään on, olisi hyvin erilainen. Harju

RelaTOS sobrE la vErdad sucedido con la verdad? ¿Hoy en día entendemos la verdad tal y como lo hacíamos unos años atrás? Y, para los peruanos, ¿qué es la verdad? Estas son algunas preguntas que motivaron el artículo, y para responderlas, analizamos algunos relatos, mitos y metáforas que se tejen en torno a "la verdad" para crearla y que son expresados, principalmente, a través de un programa televisivo. ¿Qué ha MaRía InÉS QueveDO

Reusing audiovisual archive material is a growing trend on television and has many purposes, ranging for commercial to more 'purely' social and cultural ones. Focusing on the uses of the television archive on BBC Four, the BBC's 'custodian of archive' and digital channel for arts, culture and ideas, this article examines a selection of archive rich programmes shown on the channel, in order to explore the ways in which the television archive is becoming indispensable in programme making. The article is based on interviews with BBC Four programme makers. It posits that memory, nostalgia, aesthetic and moral judgement and, crucially, self-reflexivity are all at play in archive-based programme making. The article further proposes three distinct production approachesinterpretative, interventional and imaginativeall of which contribute differently to the television archive's being seen as a 'creative tool'.

Reusing audiovisual archive material is a growing trend on television and has many purposes, ranging for commercial to more 'purely' social and cultural ones. Focusing on the uses of the television archive on BBC Four, the BBC's 'custodian of archive' and digital channel for arts, culture and ideas, this article examines a selection of archive rich programmes shown on the channel, in order to explore the ways in which the television archive is becoming indispensable in programme making. The article is based on interviews with BBC Four programme makers. It posits that memory, nostalgia, aesthetic and moral judgement and, crucially, self-reflexivity are all at play in archive-based programme making. The article further proposes three distinct production approachesinterpretative, interventional and imaginativeall of which contribute differently to the television archive's being seen as a 'creative tool'.

La Guerra Civil española sigue siendo un hito recurrente en el imaginario colectivo y ha sido frecuentemente utilizada para debatir temas del presente. La televisión, desde la Transición política, ha ejercido un importante papel como agente de memoria. Sin embargo, en las dos últimas décadas se ha detectado un descenso del número de ficciones televisivas computing ubicadas en este período (1936-1939). Esta investigación se centra en el análisis de la representación de la guerra española en tres ficciones emitidas por canales generalistas en el siglo XXI: Temps de silenci (TVE-1, 2001), Amar en tiempos revueltos (TVE-1, 2005) –basada en la anterior–, y Plaza de España (TVE-1, 2011). Las tres están directamente vinculadas a unas coordenadas espacio-temporales desde las que se ofrece una mirada al pasado en clave de presente. Las dos primeras lo hacen en formato de telenovela (bajo una idiosincrasia muy particular) y en ellas la guerra es tan sólo referenciada para hablar de la posguer...

This article discusses The Beatles Anthology (1995-2000) as an example of symbolic creativity, transmedia storytelling and memory project. The study is focused from social communication history and narrative interpretation perspectives. The paper also proposes a comparative reflection on transmediation like a historical sequence where we can understand the music and iconic work of the British group. Finally, analyzes t h e re s p o n s e s f ro m d i f f e re n t interpretative communities.

La cuestión es si existe la posibilidad de un discurso histórico audiovisual; si se puede escribir la historia con imágenes en movimiento y sonido. Para ello es imprescindible la reflexión del historiador y que asuma la necesidad de adaptar sus mecanismos tradicionales al formato al que se dirige. En definitiva, la historia en formato audiovisual es una realidad, y parece necesario que el historiador asuma su papel en ella.

A considerable number of Eastern European migrant authors of Jewish origin are currently lifting Holocaust memory to a new level. Writing in German about events taking place in remote areas of the world, they expand the German framework of memory from a national to a transnational one. By partaking in reconsidering what is ‘vital for a shared remembering’ of Europe, this branch of writing reflects the European Union’s political concern for integrating the memories of the socialistic regimes in European history writing without relativising the Holocaust. In Vielleicht Esther, Katja Petrowskaja consults various national and private archives in order to recount the history of the mass shooting of over 30,000 Ukrainian Jews at Babij Jar – a canyon near Kiev. Thus, she ‘carries’ a marginalised event of the Holocaust into the German framework of memory and uncovers the layers of amnesia that have not only concealed the event amongst the Soviet public but also distorted and for ever made i...

Embora tenha realizado As mulheres de Ryazan, em 1927, filme de sucesso em seu país e conhecido inclusive no Brasil, a cineasta russo-soviética Olga Preobrajenskaya (1881-1971), que atuou como diretora de filmes entre os anos 1916 e 1941 é praticamente ausente das historiografias do seu país e do cinema mundial. Esse artigo busca esquadrinhar quem foi essa diretora, os trabalhos que realizou, evidenciando suas obras até 1927, quando lança As mulheres de Ryazan e a partir desse ponto, indicar os apagamentos da bibliografia que se relacionam às questões de gênero e políticas. Por meio da observação de sua trajetória profissional como diretora, cuja direção dos filmes dividiu, em maioria, com seus companheiros, é possível acompanhar não só a construção de uma obra, mas também as mudanças e oscilações políticas e ideológicas da Rússia prérevolucionária e Soviética, que impactaram seus trabalhos e sua vida pessoal e culminaram no fim de sua carreira. Preobrajenskaya, que entre 1916 e 1927, lançou cinco filmes para o público infantil, é convidada pela Sovkino em 1927 para dirigir um dos seis filmes encomendados para a comemoração dos 10 anos de Revolução e, no entanto, foi censurada. Na atualidade, quando se busca pelo trabalho das mulheres no cinema, novos impedimentos surgem para o reconhecimento de Preobrajenskaya.

Es importante recordar que las instituciones parlamentarias y representativas de antiguo régimen, además de ejercer funciones legislativas y ejecutivas, tenían un destacado rol judicial o jurisdiccional. El artículo, publicado en las actas de la 68th Conference de la ICHRPI, reivindica ese ámbito y lo ejemplifica con tres casos: el tribunal de la antigua Diputació del General o Generalitat de Catalunya, los juicios desarrollados por ediles y otros cargos municipales (sobre todo en Barcelona) y el Tribunal de Contrafaccions de Catalunya (1702-1713)

This article seeks to examine the notion of a ‘history boom’ on UK television (TV) during the second half of the 1990s and 2000s. It does this by sampling the UK TV schedule between 1982 and 2012, presenting material from interviews with leading producers and commissioners, and conducting an analysis of key programmes. What emerges is the contrary notion of a ‘history dip’ between the late 1980s and early1990s, which in turn reveals an earlier high level of history programme output on UK TV. By adding to the previous accounts of history TV production, this article comments on a tendency in media history towards a ‘history of the victor’, with the attendant danger of overlooking important periods of televisual output and industrial transformation.

This thesis is an examination of the connection between the changes in the political economy of television, and changes in history documentary form, between 1982 and 2002 on UK terrestrial television. It reviews the literature on the political economy of the media, including public service broadcasting (PSB), and on documentary form, including history documentary form. The thesis then poses three research questions which aim to explore changes in the political economy of television, the effect these changes had on the production of history documentary, and the effect these changes in production had on the form of history documentary. The thesis used official documentation, television listings, practitioner interviews and textual analysis to answer these research questions. The thesis then lays out a historical narrative of the developments in the production of history documentary on UK terrestrial television between 1982 and 2002, and analyses the causes and results of these developments. It argues that a direct link exists between changes in the political economy of television and changes in the form of history documentary between 1982 and 2002. The thesis demonstrates that the shift from traditional PSB values towards a market-driven broadcasting ecology affected the production, and form, of history documentaries. These changes in turn challenged traditional notions of quality and history documentary's function as a form of PSB. The thesis also demonstrates that the effect of political economic change on history documentary form was not as simple as had hitherto been implied in the academic literature. In particular, there was a parallel between the tension between public service and commercial aims, in both the structures of television production, and the form of history documentary.

Beyond the witness: the layering of historical testimonies on British television Erin Bell The French philosopher Emmanuel Levinas [suggests]…that the witness' speech is one that, by its very definition, transcends the witness who is but its medium, the medium of realization of the testimony...By virtue of the fact that the testimony is addressed to others, the witness…is the vehicle of an occurrence, a reality, a stance or a dimension beyond himself [sic]. (Shoshana Felman, 1995, p.15) This chapter provides an account of the use of eyewitness, and other, testimony as part of the textual operations of British history programming from the 1970s to the present, and attempts to relate it to broader issues of, and developments within, historical and personal remembrance, particularly the use of photography. Presenter and eyewitness are familiar televisual tropes that cross many genres, and in history programmes eyewitnesses may be seen to have auratic power, in the sense that they are individuals, standing for a form of authenticity. This is problematized, though, because they must also bear witness for others; some of their authority derives from speaking for an entire group (Gray, 1997, p.100), and as the quotation above suggests, this transcends the individual witness. i Indeed, although many historians, particularly those researching events and experiences for which there is a paucity of documentary evidence, such as the lives of working-class women (see e.g. ???), or which necessitate the inclusion of voices of survivors, such as Deleted: indeed,

, quondam scholar, teacher, and university president said, seeing the didactic usefulness of 'The Birth of A Nation', which first came to the screen in 1915. Famous propagandists were equally quick to perceive the importance of the new medium. Lenin and Trotsky saw its value for their political message. 'Of all the arts,' Lenin said, 'cinema is the most important instrument.' Reichminister for Propaganda, Dr. Paul Joseph Goebbels, took control of the German film industry early on and turned feature films and the German Weekly Newsreels into masterpieces of the art of deception.' Scholar-president and political leaders who sought to move the great mass of their peoples-these men quickly saw the radically different uses of film for recalling the past. Since the early twentieth century, when amazing new devices for locomotion, communication and for increasing production and comfort suddenly broke through to the public consciousness, thinkers and users alike have tried to grapple with their long-term, often unintended effects. One of these new devices was, of course, the moving picture. Like the still camera earlier, it revolutionized the possibilities of representation and consequently deeply affected patterns of thought. The cinematograph was first used for public entertainment, but soon showed its potential as an information-providing device. Today, historians, like their students and the public, sit before cinema and television screens watching, being entertained by, and learning from filmed history in romanticized 'features' and seemingly objective documentaries. Seeing something on film often becomes 'being there', as Roland Barthes has said.2 Everywhere, history reported in film has been influential and there is firm evidence of its pedagogical effects.3

En este texto se analiza la primera temporada de Sitiados (coproducción de Fox International Channels, la productora independiente chilena Promocine y Televisión Nacional de Chile) considerando tres ámbitos: Narratividad/Serialidad, Televisualidad y Síntesis o interpretación hermenéutica. La serie, producida en el contexto de la conmemoración del Bicentenario de Chile, está ambientada, con respecto a la historia, en el sitio por parte de los mapuche al poblado colonial español de Villarrica, ubicado en el sur de Chile, ocurrido entre 1599 y 1602. El análisis realizado rompe una serie de mitos o discursos canónicos en torno a la colonia, la Guerra de Arauco y las relaciones entre colonos españoles y pueblos originarios, moviéndose hábilmente en su diálogo entre el pasado y el presente. De esta forma se propone una lectura sobre la construcción identitaria de lo chileno desde el presente, que resulta más matizada y compleja que las versiones clásicas consagradas. La producción, los co...

Resumen El siguiente artículo trata sobre la naturaleza de la imagen digital y virtual y su lugar en el discurso histórico contemporáneo como parte esencial de este y como potencial fuente primaria para el conocimiento del pasado reciente. Parte de tres premisas previa: la aceptación del giro pictorial, la naturaleza original de la imagen electrónica y su capacidad de ser agente, además de fuente, de la historia. Trata con ello de reflejar, a través de las últimas aportaciones de la cultura visual, dicha naturaleza mediante la reflexión en torno a dos problemas: su referencialidad y su veracidad. Palabras clave  Teoría de la historia, discurso historiográfico, imagen, imagen digital, imagen virtual, cultura visual