Is Archiving a Feminist Issue?: Historical Research and the Past, Present, and Future of Television Studies
Is Archiving a Feminist Issue?: Historical Research and the Past, Present, and Future of Television Studies
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归档是一个女权主义问题吗？：历史研究与电视研究的过去、现在和未来
DOI：
10.1353/cj.0.0018
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发表时间：
2008
期刊：
影响因子：
--
通讯作者：
H. Wheatley
中科院分区：
文献类型：
--
作者：
R. Moseley;H. Wheatley
因此，对电视过去的研究对电视档案、电视学术以及电视本身的现在和未来都有影响。它不仅塑造了我们对媒介历史发展的理解，也重新定义了电视研究的方法论途径。为了对当代女性节目做出令人信服的论证，如英国谈话/杂志节目《今晨》，（格拉纳达，1988-）和松散的妇女（格拉纳达，1999-），或流行的“后女权主义戏剧”，如《欲望都市》（达伦星星制作/HBO，1998-2004），电视学者需要能够看到地址，格式，表示，以及对“新”的起源和发展的关注。换句话说，我们既要关注电视的“新”，也要关注电视的“旧”。正如电视历史学家约翰·科纳（John Corner）所指出的，这种“功利主义辩护”表明，了解电视的历史可以让我们更清楚地了解这种媒体的现在和未来：“一种丰富的‘当时’感，在其差异和共性的结合中，产生了一种更强大的、富有想象力的和分析性的现在感。因此，学者和档案工作者必须继续为了解电视的过去而争论，以便正确地将电视的现在和未来置于背景之中。在她的贡献，电影杂志聚焦于21世纪世纪档案，玛格丽特A.康普顿还提议：“对于那些在银幕上和幕后研究电视剧中的女性的人来说，无论将《绝望主妇》下载到iPod上有多方便，如果他们还想研究莎丽·刘易斯为1957年的《家庭主妇和孩子》创作并主演的《嗨妈妈》，在这一点上，他们必须在档案中看到。在这里，当我们展望我们的项目，以揭示一些未开发的历史，电视在英国的妇女，6我们需要承认的重要工作，已经在这一领域。其中一些工作，在其地址的妇女电视生产的条件，已经显示了价值和意义的历史电视研究，借鉴档案研究的一部分，
The study of television's past, therefore, has ramifications for the present and future of television archiving, television scholarship, and, arguably, television itself. It both shapes our understanding of the historical development of the medium and also redefines the methodological approaches of television studies. In order to make convincing arguments about contemporary women's pro- gramming, such as the British talk/magazine programs This Morning (Granada, 1988-) and Loose Women (Granada, 1999-), or popular "postfeminist dramadies" like Sex and the City (Darren Star Productions/HBO, 1998-2004), television schol- ars need to be able see where the address, format, representations, and concerns of "the new" originate and how they have developed. We need, in other words, to pay attention to "the old" of television, as well as to "the new." As the television historian John Corner has argued, this "utilitarian defence" suggests that under- standing television's history offers us a clearer sense of the medium's present and future: "An enriched sense of 'then' produces, in its differences and commonali- ties combined, a stronger, imaginative and analytically energized sense of now." 4 It is essential, then, that scholars and archivists continue to argue for access to tele- vision's past in order to properly contextualize television's present and futures. In her contribution to the Cinema Journal In Focus on the 21 st Century Archive, Margaret A. Compton has also proposed that "for those studying televi- sion's women on screen and behind the scenes, no matter how convenient it is to download Desperate Housewives to an iPod, if they also want to study Hi Mom, a show Shari Lewis created and starred in for 1957's housewives and children, at this point, it will have to be seen in an archive." 5 Here, as we look ahead to our project to uncover some of the unexplored his- tory of television for women in Britain, 6 we need to acknowledge the important work that has been done in this area. 7 Some of this work, in its address to the con- ditions of production of women's television, has shown the value and significance of historical television studies that draw upon archival research as part of their