{"id":179,"date":"2018-05-26T22:12:23","date_gmt":"2018-05-26T20:12:23","guid":{"rendered":"http:\/\/people.unil.ch\/annekatrinweber\/?page_id=179"},"modified":"2022-01-28T11:10:45","modified_gmt":"2022-01-28T10:10:45","slug":"publications-et-conferences","status":"publish","type":"page","link":"https:\/\/people.unil.ch\/annekatrinweber\/publications-et-conferences\/","title":{"rendered":"Publications"},"content":{"rendered":"\n
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Television before TV rethinks the history of interwar television by exploring the medium\u2019s numerous demonstrations organized at national fairs and international exhibitions in the late 1920s and 1930s. Building upon extensive archival research in Britain, Germany, and the United States, I analyse the sites where the new medium met its first audiences. I argue that public displays were central to television\u2019s social construction; for the historian, the exhibitions therefore constitute crucial events to understand not only the medium\u2019s pre-war emergence, but also its subsequent domestication in the post-war years. Designed as a transnational study, my book highlights the multiple circulations of artefacts and ideas across borders of democratic and totalitarian regimes alike. Richly illustrated with 100 photographs, I emphasize that even without regular programmes, interwar television was widely seen.<\/p>\n\n\n\n

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This Living Book has several objectives. First, it aims to show the generativity of research on an object, television, still in search of academic and institutional legitimacy. Secondly, it intends to promote and extend a historiographic renewal that has been observable for the last fifteen years: in this sense, our ambition is to lay the foundations for an expanded history of television at the intersection of media archaeology, intermedial perspectives, and a comprehensive analysis of vision and remote communication.
This approach is the fruit of \u00ab\u00a0Beyond Public Broadcasting. Towards an Expanded History of Television in Switzerland<\/a>\u201d (Au-del\u00e0 du service public. Pour une histoire \u00e9largie de la t\u00e9l\u00e9vision en Suisse). Financed by the Swiss National Science Foundation and co-directed by the two authors, Fran\u00e7ois Vallotton and Anne-Katrin Weber of the University of Lausanne, the project has nourished three doctoral theses and a website, which notably won the 2020 Memoriav Prize. The present anthology also allows us to return to the historiographic and theoretical context that served as a backdrop for our communal reflection; a long introductory article offers a critical assessment of television studies in Switzerland. As for the anthology proper, it is intended to be a vade mecum that we hope will be valuable for anyone working or teaching in the field of media history.<\/p>\n\n\n\n

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Num\u00e9ro de revue <\/b>\u00ab\u00a0La guerre des drones\u00a0\u00bb, A Contrario,<\/em> no 29, 2019.
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Ce volume met en \u00e9vidence les dimensions multiples du drone \u00e0 travers une analyse critique de ses enjeux g\u00e9opolitiques, m\u00e9diatiques, psychologiques, juridiques et historiques. Il d\u00e9cortique le fonctionnement de la violence propre \u00e0 l\u2019usage des drones dans les conflits contemporains et porte une attention particuli\u00e8re \u00e0 la prolif\u00e9ration du drone en-dehors des espaces proprement militaires.<\/p>\n\n\n\n

La premi\u00e8re partie r\u00e9unit les contributions qui analysent le drone arm\u00e9, en particulier am\u00e9ricain. Le num\u00e9ro rassemble ensuite des contributions qui se penchent sur les drones civils ou policiers, sur les utilisations du drone dans le continent africain ou durant la Seconde Guerre mondiale ou encore sur l\u2019imaginaire des drones dans la culture populaire.<\/p>\n\n\n\n

Intervenant dans un champ largement domin\u00e9 par des travaux anglo-saxons, ce num\u00e9ro de la revue A Contrario<\/em> offre ainsi un panorama en fran\u00e7ais des recherches sur le drone, en accueillant des approches interdisciplinaires qui contribuent \u00e0 \u00e9tendre notre compr\u00e9hension d\u2019un objet prot\u00e9iforme.<\/p>\n\n\n\n

Consulter le num\u00e9ro sur Cairn<\/strong><\/a><\/p>\n\n\n\n

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Num\u00e9ro de revue \u00e9dit\u00e9 <\/b>avec Andreas Fickers, \u00abArchaeologies of Tele-Visions and \u2013Realities,\u00bb VIEW Journal of European Television History and Culture <\/i>4, no.7 , 2015.<\/p>\n\n\n\n

Consulter le num\u00e9ro<\/a><\/strong><\/p>\n\n\n\n

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Ouvrage \u00e9dit\u00e9<\/b> avec Mireille Berton, La t\u00e9l\u00e9vision du t\u00e9l\u00e9phonoscope \u00e0 YouTube: pour une arch\u00e9ologie de l’audiovision, <\/i>Lausanne: Antipodes, 2009.<\/p>\n\n\n\n

Si la t\u00e9l\u00e9vision a souvent \u00e9t\u00e9 \u00e9tudi\u00e9e dans son contenu ou en tant que m\u00e9dium de masse, elle a plus rarement \u00e9t\u00e9 l\u2019objet d\u2019une histoire de ses dispositifs compris en tant qu\u2019agencements entre une repr\u00e9sentation, un appareillage et un (t\u00e9l\u00e9)spectateur.<\/p>\n\n\n\n

Cet ouvrage propose de parcourir l\u2019histoire de certains dispositifs t\u00e9l\u00e9visuels fonctionnant sur le principe g\u00e9n\u00e9rique d\u2019une transmission \u00e0 distance de donn\u00e9es, d\u2019images et\/ou de sons. Les \u00e9tudes rassembl\u00e9es dans ce volume s\u2019int\u00e9ressent autant aux machines fictives du XIXe si\u00e8cle, qu\u2019au dispositif \u00ab standard \u00bb de l\u2019appareil \u00e9lectronique \u00e0 usage priv\u00e9, en passant par les nombreuses variantes utopiques et actualis\u00e9es. La t\u00e9l\u00e9vision est donc d\u00e9clin\u00e9e autant \u00e0 travers ses r\u00e9ceptions critiques et ses fantasmatiques que via les technologies qui la mettent en jeu, \u00e0 savoir du T\u00e9l\u00e9phonoscope \u00e0 YouTube.<\/p>\n\n\n\n

Participant \u00e0 une arch\u00e9ologie de l\u2019audiovision, ce livre prend en consid\u00e9ration un ensemble aussi large que possible de dispositifs t\u00e9l\u00e9visuels dont la t\u00e9l\u00e9vision ou le cin\u00e9ma ne seraient qu\u2019une des manifestations possibles, ni plus, ni moins embl\u00e9matiques de cette audiovision.<\/p>\n\n\n\n

Sommaire<\/strong><\/a><\/p>\n\n\n\n

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Articles de revue et chapitres de livre<\/h2>\n\n\n\n

\u00ab Ephemeral Studios: Exhibiting Televisual Spaces during the Interwar Years \u00bb in The Studio: Space, Form, Materiality,<\/i> \u00e9d. Brian R. Jacobson, University of California Press, 2020, 63-82.<\/p>\n\n\n\n

Vallotton, Fran\u00e7ois, et Anne-Katrin Weber. \u00ab Un scandale t\u00e9l\u00e9visuel dans l\u2019\u00e9t\u00e9 chaud zurichois. \u00bb \u00c9tudes de lettres<\/em>, no. 312 (2020): 63\u201368.<\/a><\/p>\n\n\n\n

Weber, Anne-Katrin, Roxane Gray and Marie Sandoz. \u201cITU Exhibitions in Switzerland: Displaying the \u2018Big Family of Telecommunications\u2019, 1960s \u2013 1970s.\u201d In History of the International Telecommunication Union (ITU). Transnational Techno-Diplomacy from the Telegraph to the Internet,<\/em> Gabriele Balbi, Andreas Fickers (ed.) (Berlin: De Gruyter), 265\u2013296.<\/p>\n\n\n\n

\u00ab ‘L\u2019\u0153il \u00e9lectrique’ et ‘la torpille volante’\u202f: pistes pour une histoire du drone \u00e0 partir de l\u2019histoire t\u00e9l\u00e9visuelle\u00bb. A contrario<\/i> n\u00b0 29, no<\/sup> 2 (2019): 81\u201198.<\/a><\/p>\n\n\n\n

\u00ab Le dispositif du drone \u00bb. A contrario<\/i> 29, no<\/sup> 2 (2019): 3\u201124.<\/a><\/p>\n\n\n\n

\u00ab Des pellicules et des signaux : convergence m\u00e9diatique et t\u00e9l\u00e9vision de l\u2019 entre-deux-guerres \u00bb, in Formes et plateformes de la t\u00e9l\u00e9vision,<\/i> \u00e9d. Marta Boni, Presses universitaires de Rennes, 2020.<\/p>\n\n\n\n

Fickers, Andreas, Dana Mustata, and Anne-Katrin Weber. \u201cThe Rise of Television: Institutionalization and the Forming of National Audiences.\u201d In Handbook of European Communication History<\/em>, Klaus Arnold, Susanne Kinnebrock, Paschal Preston (ed.) (Hoboken NJ: Wiley), 239-255.<\/p>\n\n\n\n

\u201cDu laboratoire \u00e0 l\u2019\u00e9cran. La t\u00e9l\u00e9vision au cin\u00e9ma dans les ann\u00e9es 1930.\u201d In Loin des yeux\u2026 le cin\u00e9ma. Imaginaires visuels des technologies des t\u00e9l\u00e9communications<\/em>, Alain Boillat, Laurent Guido (ed.), Lausanne: L\u2019Age d\u2019homme, 2019, 323-348.<\/p>\n\n\n\n

\u00ab Television as new media: Raymond-Millet\u2019s \u2018T\u00e9l\u00e9vision: Oeil de Demain\u2019<\/em> (1947) and the politics of French experimental TV \u00bb, NECSUS. Journal of European Media Studies,<\/em> printemps 2019, online<\/a><\/p>\n\n\n\n

\u00ab L\u2019exposition de la t\u00e9l\u00e9vision dans l\u2019entre-deux-guerres: entre appropriations nationales et \u00e9changes transnationaux, \u00bb Relations internationales<\/i>, no. 164 (2016): 75\u201392.<\/a><\/p>\n\n\n\n

avec Sylvain Portmann,\u00ab Qu’en est-il des (web-)s\u00e9ries suisses? Point sur la situation lors des Journ\u00e9es de Soleure 2016, \u00bb D\u00e9cadrages<\/i>. Cin\u00e9ma, \u00e0 travers champs<\/i>, no. 32-33, (2016): 168-180.<\/p>\n\n\n\n

avec Andreas Fickers, \u00ab Editorial: Towards an Archaeology of Television, \u00bb VIEW Journal of European Television History and Culture<\/i> 4, no. 7 (2015): 1\u20137.<\/a><\/p>\n\n\n\n

\u00ab Recording on Film, Transmitting by Signals. The Intermediate Film System and Television\u2019s Hybridity in the Interwar Period \u00bb Grey<\/i> Room<\/i>, no. 56 (\u00e9t\u00e9 2014): 6\u201333.<\/a><\/p>\n\n\n\n

\u00ab Du dispositif spectaculaire au poste standardis\u00e9: l\u2019exposition de la t\u00e9l\u00e9vision aux Funkausstellungen berlinoises, 1928-1939, \u00bb in Exposition et medias: photographie, cin\u00e9ma et t\u00e9l\u00e9vision<\/em>, \u00e9d. Olivier Lugon (Lausanne : L\u2019\u00e2ge d\u2019homme, 2012), 271-293.<\/a><\/p>\n\n\n\n

\u00ab Fernseh-Schauen. \u00d6ffentliche Pr\u00e4sentationen einer neuen Technologie in London, Berlin und New York, 1928 \u2013 1939, \u00bb Rundfunk und Geschichte<\/em> 37, no. 1-2 (2011): 43-45.<\/p>\n\n\n\n

\u00ab La t\u00e9l\u00e9vision \u00e0 l’Exposition nationale suisse de 1939: Nation, science et genre dans la pr\u00e9sentation d’une nouvelle technologie,\u00bb in La t\u00e9l\u00e9vision, le moment exp\u00e9rimental<\/em>, \u00e9d. Gilles Delavaud and Denis Mar\u00e9chaud (Paris : Apog\u00e9e\/INA, 2011), 81-97.<\/a><\/p>\n\n\n\n

avec Mireille Berton, \u00ab T\u00e9l\u00e9-Visions: une introduction \u00e0 l\u2019histoire des dispositifs t\u00e9l\u00e9visuels, \u00bb in La t\u00e9l\u00e9vision du t\u00e9l\u00e9phonoscope \u00e0 YouTube: pour une arch\u00e9ologie de l\u2019audiovision<\/em>, \u00e9d. Mireille Berton and Anne-Katrin Weber (Lausanne: Antipodes, 2009), 13\u201332.<\/p>\n\n\n\n

\u00ab La t\u00e9l\u00e9vision projet\u00e9e. L\u2019Eidophor \u00e0 l\u2019Ecole Polytechnique f\u00e9d\u00e9rale zurichoise (1939-1948) \u00bb in La t\u00e9l\u00e9vision du t\u00e9l\u00e9phonoscope \u00e0 YouTube: pour une arch\u00e9ologie<\/em> de l’audiovision, \u00e9d. Mireille Berton and Anne-Katrin Weber (Lausanne: Antipodes, 2009), 141-160.<\/p>\n\n\n\n

Traduction<\/strong><\/h3>\n\n\n\n

Alain Boillat,\u00ab Ren\u00e9 Clair als Widerstandsk\u00e4mpfer gegen die synchron gesprochene Stimme. Was die Sprechmaschinen von A nous la libert\u00e9 zu sagen haben, \u00bb in Resonanz-R\u00e4ume. Die Stimme und die Medien<\/em>. \u00e9d. Oksana Bulgakowa (Bertz+Fischer, Berlin, 2012), 21-40.<\/p>\n\n\n\n

Compte rendu<\/strong><\/h3>\n\n\n\n

de \u00ab Teletext in Europe: From the Analog to the Digital Era, \u00bb Historical Journal of Film, Radio and Television<\/em> 36, no. 4 (2016): 723\u201326.<\/p>\n","protected":false},"excerpt":{"rendered":"

Television before TV rethinks the history of interwar television by exploring the medium\u2019s numerous demonstrations organized at national fairs and international exhibitions in the late 1920s and 1930s. Building upon extensive archival research in Britain, Germany, and the United States,<\/p>\n","protected":false},"author":1001077,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","footnotes":""},"class_list":["post-179","page","type-page","status-publish"],"_links":{"self":[{"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/pages\/179","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/users\/1001077"}],"replies":[{"embeddable":true,"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/comments?post=179"}],"version-history":[{"count":0,"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/pages\/179\/revisions"}],"wp:attachment":[{"href":"https:\/\/people.unil.ch\/annekatrinweber\/wp-json\/wp\/v2\/media?parent=179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}