Person: Keilbach, Judith
Research Projects
Organizational Units
Job Title
Professorin für Media and Culture Studies an der Universität Utrecht
Last Name
Keilbach
First Name
Judith
Name
3 results
Publications from this person:
Now showing 1 - 3 of 3
- ArticleThe Eichmann Trial on East German Television: On (Not) Reporting About a Transnational Media EventKeilbach, Judith (2014-06-24) , S. 17-22This paper discusses the Eichmann trial (1961) as a transnational media event. It describes on the one hand the co-operation of different institutions that facilitated the trial’s filming as well as the worldwide distribution of the footage. On the other hand it draws on East and West German television programs to show how the GDR used the Eichmann trial to campaign against the FRG. Examples from the East German Der schwarze Kanal and the West German Die rote Optik illustrate the reciprocal monitoring and commenting of the other side’s television program. The case of the Eichmann trial points at a significant role of broadcast media during the Cold War. Television advocated the respective political system with particular programs denigrating the other side which sometimes resulted in strong reactions.
- ArticleOld Stories and New Developments: Engaging with Audiovisual Heritage OnlineBadenoch, Alexander; Gorp, Jasmijn van; Hagedoorn, Berber; Keilbach, Judith; Müller, Eggo; Mustata, Dana (2018-05-16) , S. 1-5It is our great pleasure to present this special issue of VIEW Journal of European Television and Culture in honour of Sonja de Leeuw, one of the founding members of the journal. The issue brings together articles that honour Sonja’s inspiring contributions to television history and television historiography
- ArticleKeeping Up the Live: Recorded Television as Live Experiencevan Es, Karin; Keilbach, Judith (2018-05-16) , S. 60-68Increasingly new media platforms are making claims to liveness. Looking back in television history we also find programmes that were recorded, but kept up the claims of being live. This raises the question as to what accounts for the attraction of the live? Focusing on Ein Platz für Tiere and the Netflix Live spoof of 2017 this article discusses disparate articulations of the live and addresses the need to balance freedom, chaos and control on the part of media producers. For their greatest challenges is that boredom and chaos haunts their output simultaneously. It clarifies also how liveness is not a given property of any technology, but in fact hard work.