Tijdschrift voor Mediageschiedenis

During the first fifty years of Dutch television the nos/nts-journaal was the most important news programme. This article uncovers the gradual transformations in culture and journalistic conventions by means of three discussions. First over a span of fifty years the journaal has assumed a central agenda-setting and also prestigious position in Dutch journalism. It has adjusted continually to changing technological and journalistic circumstances and for this reason it has maintained its leading position in the reporting of daily news despite the competition which has grown considerably. Second the general development of journalism specifically for the television news is sketched. The journaal has developed stylistically in the same way as in most other comparable Western countries. It has developed from being a film model in the 1950s - whereby the news formula is grafted onto the cinema news - to being a professional journalistic organisation that is strongly orientated towards newspaper journalism. Since the 1980s we talk of a television model because the technological and cultural forms of television have come to define the journalistic approach to the journaal. The third development that is explained is done by means of a case study about the run up to the royal weddings in 1966 and 2002. A study of the journaal broadcasts about this subject show clearly that over time a greatly increasing multiformity has arisen: more subjects are covered from more and more varied journalistic lines of approach. Although the speed of journalism does not appear to have increased speed in the 1960s addressed other things than in the 1990s. The journaal has developed from being an organisation that followed the news to being one that makes news. Originally the aim of the journaal seemed to be to present reality as impartially as possible in picture form at a great emotional distance; these days the main aim seems to be to combine people's personal and emotional stories with the reactions of authorities and institutions. The result is more complex journalistic reports in which the journalist's vision has become the linking factor

This contribution focuses on how the editorial staff in particular the chief editors have assessed the image of their public tv news programme over the years. The author discusses this topic by focusing on the image that the seven chief editors to date have had of the programme: were they proud of it? Did they have a clear vision about the type of news programme they wanted to present? How did they anticipate new insights into the position and format of tv news technological innovations political and economic developments and the changing positions of their audience? The author concludes that the different approaches by the various chief editors have been determinant factors in the self-image of the journaal. In the first years there was an ambitious experimental approach which was followed by a formal and restrained policy until the mid-1970s (the 'dark age'). This was then was succeeded by ten years of innovation and expansion. In the next phase the programme was confronted with competition from commercial broadcasting companies which resulted in a decline of self-image amongst the staff. Reporting of the first Gulf War in early 1991 hailed the start of a long new period of increasing self-image and a reaffirmation of the valuable position that the programme has in Dutch society. To date het journaal has turned out to be the backbone of the public broadcasting system

This article endeavours to answer the question in which ways the nts-journaal has contributed to the social meaning of television in Dutch society. Contemporary newspapers and magazines were researched as these sources are used by many Dutch people to form their opinions about the television as a medium and about the nts-journaal. Based on that analysis it is concluded that the nts-journaal has been able to evolve into an institution which through its aim to give objective information about current affairs could be an antidote for the supposed harm that television can do. As a result of the ntsjournaal television was given the indisputable task of conveying the important values of Dutch society and it therefore contributed to the acceptance of this new medium

In the first 25 years of its existence Dutch public television news was limited by many restrictions when it endeavoured to cover national politics. It was only expected to inform the public about the facts. Interviews interpretation and explanation were the prerogative of the current affairs programmes that were broadcast by the different broadcasting organisations these being remnants of pillarization. For a long time public television news more or less ignored the election campaigns. In 1986 this came to an end. Following in the footsteps of the bbc news the editors set up a news block which included daily reports of the election campaigns. Over the last ten years the media landscape has changed from being a supply market to becoming a highly competitive demand market. Campaign reporting by nos-journaal and its commercial competitor rtl-nieuws has changed into a Dutch variant of interpretative journalism. Journalists no longer just describe politics they now play active and dominant roles by giving daily explanations for and making judgements on the behaviour of parties and politicians. Nevertheless public television news has remained predominantly substantive in the way it reports

Over the past few years many historians have studied the relation between the media and politics partly because critics believe that journalists' influence on politics is increasing. The influence of the journaal which has always attracted a (relatively) large number of viewers can not be ignored. This article considers therefore the development of the content and form of political broadcasting of the journaal over the last fifty years. Contrary to most researchers I have not used broadcasts of election campaigns as a case study. Instead this article focuses on reports about a number of government crises. Since being informed about the fall of one's government is at least as important in a democracy as being informed about election campaigns there is no reason why the analysis of broadcasts should always be limited to the latter. This research has led to the conclusion that the role of the journaal reporters has grown considerably over the last fifty years although this development was slow compared with other news programmes on television

In 1977 the hotel <i>Polen </i> burned down leaving 33 dead and 46 wounded most of whom were foreigners; in 2001 a fire destroyed the café <i>'t Hemeltje</i> causing the death of 14 people and leaving hundreds wounded many of whom were young people. This contribution analyses the way in which the news programme journaal reported these two disasters the second taking place nearly 25 years after the first. The analysis shows clearly that during those years the journaal's approach has changed and that involvement and emotion have grown considerably which reflects of the development of the public's preference. The approach in 1977 - just a few news broadcasts in which the victims hardly had the opportunity to speak and were filmed in a detached way - had evolved by 2001 to an approach of concern with a lot of attention given to the victims the causes the experiences and the question of fault. Compared with 1977 emotion clearly played a far more important role in television news in 2001

Television news is one of the most studied subjects in the area of television research and news broadcasts in the form of the daily news programmes are given particular attention. Nevertheless there are surprisingly few publications about the history of the television news programmes. This article gives a global description of the development of television news in several countries. Interwoven in the description is a discussion of the historiografic literature that is seen to be relevant. The developments in the United States Great Britain France and Germany are disucssed in separate sections. Jo Bardoel's (1996) 'model of thought' provides an important starting point. This model regards the historical development of television news as a result of the combined effect of three central influences: technology institutional embedding and professional or journalistic culture. One of the conclusions is that despite the differences the television news in Great Britain France and Germany has fulfilled and still fulfils the function of a national institution. Because of the dominance of commercial channels America remains an exception to this

This article roughly outlines the evolution of the concept used for television news by Flemish public broadcasting companies between 1953 and 1990. The Dutch language broadcasting nir/brt/brtn/vrt was established together with the French-speaking broadcasting inr/rtb/rtbf within the existing structure of the Belgian radio system. This study discusses the basic characteristics that were used of the journalistic news concept. The results of the research show that the concepts used and the developments roughly paralleled those of other Western European news programmes. However some Flemish priorities were also established that were not just the outcomes of journalistic options but also of a broader Belgian social political and economic context

In analysing the changing repertoire of 'text types' used in the only Swiss national tv news programme from the 1950s until today four main phases are described. In the 1950s the tagesschau was a sort of tv magazine which was both informative and entertaining with news films while in the 1960s and 1970s it was primarily a show for short detached and condensed information about hard facts. There was also a shift from chronological news narratives to the 'inverted pyramid'. In the 1980s there was a shift towards more parasocial communication more critical reporting and towards more dialogue in the programme. There was also a growing tendency to present 'closeness' which began in the 1970s with the introduction of correspondents' 'packages'. Since the 1990s the position of the anchor has been reinforced: the trend towards parasocial communication continues. There are more packages and more interviews both of which are text types that present closeness to some extent; text types in which the news is exclusively read by a newsreader on screen have become rare. On the other hand more than 20% of the programme consists of film items that are read by anonymous voices in a detached manner. The question is discussed why the programme has been designed in this way and it is argued that the presentation of the news is above all determined by changes in the journalistic culture as opposed to changes in the media system the media market or technical developments

Wie gevraagd wordt enkele Duitse stripfiguren of striptekenaars te noemen zal moeite hebben omeen antwoord te geven. Stripverhalen worden in Nederland geassocieerd met een bont geheel aan landen van herkomst - België Frankrijk Nederland de vs en tegenwoordig ook Japan - maar niet met onze oosterburen. Die onbekendheid heeft ons tot nu toe grotendeels het zicht ontnomen op het Duitse beeldverhaal. Weliswaar is de naoorlogse productie van strips aldaar relatief beperkt van omvang - en slechts een klein deel daarvan is hier ter lande in vertaling beschikbaar gekomen - maar hetgeen vóór de Tweede Wereldoorlog verscheen verdient alleszins serieuze belangstelling

De filmtijdschriften zijn in te zien in de bibliotheek van het Nederlands Filmmuseum in Amsterdam de andere tijdschriften in de meeste universiteitsbibliotheken