Reception problems: Postwar television and the amateur experimenter

Casey McCormick asked me to post this so that she could use it in a class. Thanks for motivating me to share, Casey!

Reception Problems: Postwar Television and the Amateur Experimenter

The figure of the amateur experimenter performs a well-defined historiographic function within revisionist histories of twentieth century media technologies. Consider the teenage wireless operator, the short wave ham, the hi-fi audiophile, and the computer hacker: historians have highlighted the activities of these and other amateurs to complicate and contest the distinctions that top-down, single-ledger histories often draw between the so-called producers and consumers of media technologies. What of television’s amateur experimenters? A handful of scholars have discussed hobbyists’ dalliances with mechanical television in the 1920s and 1930s (Sewell, 2012; Boddy, 2004), but few have traced these activities beyond the medium’s post-World War II relaunch. Exceptions exist: for instance, Lisa Parks (2000) has traced the circulation of technical knowledge about television amongst consumers and professional repairmen during the 1940s and 50s. But for the most part historians have relegated the amateur experimenter to the television’s pre-war “pre-history,” overlooking the various forms of experimentation that viewers and would-be viewers engaged in the decades following the medium’s commercialization. These experiments are the subject of this paper. In what follows I offer a perspective on 1950s television that stresses the mutability of its technologies and the resourcefulness of its viewers, and that furthermore is sensitive to the hyper-local variations that characterized the medium’s early reception practices.
Read more of this post

“Requiem for the CRT” (SCMS 2011 presentation)

At SCMS 2011, I participated in a panel titled “Digital Television, Analog Memories” along with Karen Lury and Amy Holdsworth, both of the University of Glasgow. The panel explored themes of memory, materiality, and everydayness in relation to the digitalization of television. Amy kicked off the panel with a presentation titled “Nostalgic Frames: Televising and Teaching Television History and Memory.” Drawing on research for her forthcoming Palgrave book Television, Memory, and Nostalgia, Amy raised a number of provocative questions about the political economy of nostalgia programming (e.g. BBC4’s TV on Trial and Channel 5′s Greatest TV Comedy Moments) before concluding with some observations about the pedagogical challenges television’s current “memory boom” presents. Karen closed the session with her paper “‘Close’ Viewing: Stories of Technology in the Move from Analog to Digital Media,” a refreshingly original presentation that many attendees (including this one) agreed was one of the most exciting of the entire conference. Karen went door to door in her Glasgow close (the Scottish term for tenement-style apartments) photographing her neighbors’ media set-ups and interviewing them about their families’ media habits. The result was an engrossing story that was as much about neighborliness as it was about technology. Lury’s tour through her neighbors’ flats invited the audience to recall the ethnographic studies that had defined television studies during its formative years, and to consider how these familiar research methods might complement or complicate more recent industry-focused scholarship on digitalization and convergence.

In between these stellar papers I presented some new work on the changing cultural meanings of the cathode ray tube (CRT) television. The paper follows below, a .pdf version is available here. This is still a work in progress, and I would very much appreciate any feedback anyone felt like offering. And since this is an unfinished work, I ask that you please contact me directly before citing it.

Read more of this post

Follow

Get every new post delivered to your Inbox.

Join 1,833 other followers

%d bloggers like this: