2016/2 – #Home

Browsing 2016/2 – #Home by Subject "Archiv"

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  • Article
    The filmic representation of home in transnational families: The case of I FOR INDIA
    Cuevas, Efrén (2016) , S. 133-150
    This article intends to study the filmic representation of home and homeland in transnational families through an analysis of the documentary I FOR INDIA (2005). This film, made by Sandhya Suri, offers an autobiographical portrait of an Indian family that emigrated to the UK in the 1960s. Following their story, it will be seen how transnational families are changing the traditional understanding of home, a concept normally associated with the notions of homeland and the family house. Since Suri builds this portrayal of her family with the help of a valuable family archive of home movies and audio reels (shot by her parents and by her Indian family), the article gives special attention to the role of this domestic archive in the narrative of the documentary and in the configuration of transnational families.
  • Article
    From single male guest worker to Muslim: An archaeology of iterating archival footage on Dutch television
    Meuzelaar, Andrea (2016) , S. 15-48
    Over the course of more than 50 years Dutch television has produced an enormous amount of stories and images of Muslim immigrants. These stories and images are preserved in the Institute of Sound and Vision, the Dutch national audiovisual archive-, where they are constantly available for reuse. This article presents an archaeology of iterating archival footage that has come to represent a pivotal moment in the Dutch televisual narrative of Islamic immigration. The footage – an item from the current affairs magazine TELEVIZIER that was broadcast in 1969 – depicts the recruitment of cheap labour forces in Morocco by a Dutch official. Due to its evocative nature and its capacity to illustrate the beginning of postwar immigration the footage has been recycled extensively over the course of time. This essay traces the iterations of the TELEVIZIER footage through 50 decades of Dutch television history and demonstrates how the televisual discourses on Muslim immigrants have changed over time. The study departs from a constructivist paradigm of archives and cultural memory and demonstrates how the TELEVIZIER footage has adopted, absorbed, and added new meaning through time. The analysis of how and when the meanings of the footage shift sheds light on the changing televisual discourses of Muslim immigrants, on television’s modes of representing and transforming the past, on television’s symbiotic relationship with its own history in the shape of its archive, and on the canonisation of archival footage.