Censuurmodaliteiten, disciplineringspraktijken en film: een comparatieve analyse van de historische receptie van Sergei Eisensteins film Pantserkruiser Potemkin (1925) in België en Nederland

Analysis of the historical reception and censorship of Potemkin (Eisenstein) in Belgium and the Netherland

Breidel en stimulans:de impact van de Eerste Wereldoorlog op film en pers in België en Nederland

Editorial TMG Vol 19, No 1 (2016

Slavery in Suriname. A Reconstruction of Life Courses, 1830–1863

The slavenregisters or slave registers of Suriname offer a unique perspective on the social and demographic history of a people in bondage. Thanks to a citizen science project, the archival sources were transcribed in 2017 by hundreds of volunteers. The transcriptions were used to create a longitudinal database of more than 90,000 enslaved persons. This paper describes the sources, data entry, and cleaning to create a standardized database as well as the matching needed to construct life courses. We discuss the best practices we have learned along the way. Finally, it offers prospects for research and expansion of the database to other population sources and areas

Mapping film programming across Post-War Europe (1952): Arts and media

This data paper and the data collection from which it emerges aim to present a fully harmonized data set originating in several research projects on post-war cinema programming. The paper will reflect on the collection and structure of this aggregated data set, that consists of titles of feature films screened for public viewing in cinemas in the cities Bari (Italy), Antwerp and Ghent (Belgium), Gothenburg (Sweden), Leicester (United Kingdom) and Rotterdam (Netherlands) for the year 1952. As comparisons of movie-going patterns between European countries are still rare, this paper offers a model for constructing a data set which can be replicated, scaled up and used to compare, contextualize, and eventually theorize practices of cinema-going across countries at a global level

De nieuwe mens. De culturele revolutie in Nederland rond 1900

Review of: Auke van der Woud. De nieuwe mens. De culturele revolutie in Nederland rond 1900, Prometheus – Bert Bakker, 2015, 352 pp

Bewegend beeld. Bioscopen in Maastricht vanaf 1897 - F. Jansen

Book review of: Frank Jansen. Bewegend beeld. Bioscopen in Maastricht vanaf 1897. Maastricht (Stichting Historische Reeks) 2004, 204 p., isbn 90 5842 017

Bewogen missie. Het gebruik van het medium film door Nederlandse kloostergemeenschappen

Review van: Joos van Vugt & Marie-Antoinette Willemsen(red.)Bewogen missie. Het gebruik van het medium film door Nederlandse kloostergemeenschappenHilversum (Verloren), 2013

Een prul een prul noemen. Filmkritiek in twee Nederlandse dagbladen 1910-1922

To call a bad picture by its name. Film criticism in two Dutch newspapers 1910-1922The period before L.J. Jordaan started writing his famous column in 1923, the Netherlands were considered to be void of'serious' film criticism. This was partly because of the strong influence of the Nederlandsche Filmliga (the Dutch Film league), which prescribed its own artistic criteria in deciding what movies took precedence over others. However, close-examination of two Dutch national newspapers (Het Algemeen Handelsblad and De Telegraaf) in the decade prior to Jordaan's column shows that between 1910-1922 a genuine tradition of film reviewing had started to develop in the Netherlands. Especially after 1918 a specialized form of film journalism came about. Both newspapers state that the critics published on a regular basis in Het Algemeen Handelsblad and De Telegraaf. Besides the reviewing as such, the articles consisted of stories about film industries in a general way, gossip about film stars, or informative prose relative to technological innovations in movie making. An explicit theory of film criticism was never written by any of these early film journalists. But close reading of the articles these critics have written, reveals the most important criteria seem to have been intrigue, acting, mise-en-scene, and technique. The plot made out the largest part of the review; it was meticulously summarized and tuned in mild irony. Acting was considered one of the most important qualities of the cinema. Mise-en-scene and technique were mentioned less often, but were sometimes considered to have an important function in the film. When a film was presented as a work of art by the studio or cinema, artistic merit was a criterion. But when it was 'only' meant to amuse, its quality was measured by other standards, such as suspense in the case of a thriller or humor in the case of a burlesque