1. faculty of arts media and journalism studiesDate 29-05-2013 |Counter ScreensA pilot study done in collaboration with the European (Post)Socialist TelevisionStudies Commission & funded by FIAT/IFTA Television Studies CommissionDr. Dana MustataUniversity of Groningen

2. faculty of arts media and journalism studiesDate 29-05-2013 |The European (Post)Socialist Television History Network: Dana Mustata (University of Groninge) - coordinator Aniko Imre (University of Southern California, USA) researcher Ferenc Hammer (ELTE University, HU) researcher Lars Lundgren (Sodertorn University, SE) researcher Sabina Mihelj (Loughborough University, UK) researcher Irena Reifova (Charles University Prague, CZ) - researcher2 3. faculty of arts media and journalism studiesDate 29-05-2013 |Challenge:3Despite digitization and online dissemination,television heritage from Eastern Europe remainspartly inaccessible due to issues of language andlack of context on the specific broadcasting andarchiving cultures this material originates from 4. faculty of arts media and journalism studiesDate 29-05-2013 |Access?4 5. faculty of arts media and journalism studiesDate 29-05-2013 |For instance:Accessing the Live Romanian Revolution? 6. faculty of arts media and journalism studiesDate 29-05-2013 |6 7. faculty of arts media and journalism studiesDate 29-05-2013 |Securitate document showing the live broadcast infrastructures under Ceausescu 8. faculty of arts media and journalism studiesDate 29-05-2013 |Securitate document on surveilled audiences 9. faculty of arts media and journalism studiesDate 29-05-2013 |Best Practices to Accessing Television Heritage from Eastern EuropeAims: showcase practices of contextualizing televisionprogrammes from several Eastern European archives; illustrate and discuss sources that contextualize and enricharchived television programmes; reflect on access practices for research purposes tocollections archived at Eastern European broadcasters.9 10. faculty of arts media and journalism studiesDate 29-05-2013 |Pilot Study Deliverables: Series of six short articles on a programme/broadcastarchived at an Eastern European FIAT/IFTA memberarchive, including contextualizing sources illustrated and/ordiscussed as part of the articles Guide of best practices to accessing Eastern Europeantelevision heritage10 11. faculty of arts media and journalism studiesDate 29-05-2013 |11Case-Studies: Sleep Peacefully/Spavajte mirno (1968) archived at Radio-TelevisionSerbia Reflector (1967-1977) archived at Romanian Television Archives Who Knows What?/Ki mit tud? (1962) archived at Hungarian NationalAudiovisual Archive (NAVA) Gagarins return from space (1961) produced by Soviet television,accessed at Swedish Television Archives Blue Light/Kek feny (1965; 2002) archived at NAVA On the Threshold of Adulthood/Zkous ky z dospe losti (1979; 1993) archived at Czech TV archives District in the North (Okres na severu) archived at Czech TV archives 12. faculty of arts media and journalism studiesDate 29-05-2013 |Sleep PeacefullyRTS-CPOPAR, Report 354: Analiza pisma gledalaca upuenihserijskoj emisiji Spavaje mirno + pisma gledalaca upuenihserijskoj emisiji Spavaje mirno izvodi, Part I and II, 1969,consulted at the archive of Radio-television Serbias Centre forPublic Opinion, Programme and Audience Research12 13. faculty of arts media and journalism studiesDate 29-05-2013 |ReflectorPersonal interview with Stefan Dimitriu (programme-maker of Reflector):13 Initially, the visas were strictly political, they only prevented us from political mistakes. Censorsonly interfered with political programmes. But we abided by self-censorship, we knew what wewere allowed and what not. The worst censors were some of the superiors in our department, whodid their job even before the programme would reach Vornicu [n.a. director of programmes].[Dionisie] Sincan, for instance, was my editor-in-chief when the department of social- educationalprogrammes was created. He gave positive visas. Then, there was Manase Radnev, the adjucteditor-in-chief, [...] who didnt accept anything that was not standard, he cut all the attractiveparts in the programme. He was not fond of any subversive allusions, not even of more innocentcomments. He said they called for attention. He took no responsibility for humour in theprogramme. Everyone was scared in case the comrades [n.a. Nicolae and Elena Ceausescu] werewatching. If someone had the bad luck of Ceausescu watching their programme and not liking it,they would lose their job. Reflector had its own tricks for evading censorship. We would go to the [censorship] screenings inbig groups, all of our colleagues would show up to support each other. We knew which were themore sensitive parts of our programmes and when those were screening, one of us would try anddivert the attention of the censor, or he/she would talk over those parts in the programme, orcough, or laugh. And then, many things would pass for approval. 14. faculty of arts media and journalism studiesDate 29-05-2013 |14Who Knows What?Mikls Karcsondi: Untitled manuscript about the making of Who Knows What?, shared with theauthor by Karcsondis widow 15. faculty of arts media and journalism studiesDate 29-05-2013 |15Gagarins Return from SpaceEBU and BBC documents: 16. faculty of arts media and journalism studiesDate 29-05-2013 |Blue LightPersonal interview with Lszl Szab, maker of the show16 17. faculty of arts media and journalism studiesDate 29-05-2013 |On the Threshold of Adulthood & District in the NorthAudience data & family diaries,Consulted at Czech Television Archives17 18. faculty of arts media and journalism studiesDate 29-05-2013 |Lessons Learnt Collaboration (among researchers; between researchersand archivists; between different archive institutions) iskey Subversion, resistance and transnational cross-overs =shared themes of access into Eastern European televisionheritage Contextualization strategies are key Expert communities made up of researchers & archivistsare necessary18