scholarly journals Digital Archiving in the Twenty-First Century: Practice at the National Library of the Netherlands

2005 ◽  
Vol 54 (1) ◽  
pp. 33-56 ◽  
Author(s):  
Johan F. Steenbakkers
Keyword(s):  
The Netherlands ◽  
First Century ◽  
National Library ◽  
Digital Archiving ◽  
Twenty First Century

The Twenty-First-Century Postcinematic Ecology of the Film Museum

Post-cinema ◽  
2020 ◽  
Author(s):  
Giovanna Fossati ◽  
Annie van den Oever
Keyword(s):  
First Century ◽  
Digital Archiving ◽  
Technological Context ◽  
The World ◽  
Twenty First Century

Contributing to the cinema death topic while focusing on national film institutes, Giovanna Fossati and Annie van den Oever observe that, while it can be said that processes of digitalization (which raise the question as to whether the notion of film is still relevant in this new technological context) have deeply affected the world of film and cinema, some of the film institutes remain – an index of the cinema persistence. Digitalization concerns reproduction and creation. The exchange of views between Fossati and Van den Oever provides a useful perspective on the issue of digital archiving. It also deeply enriches the idea of post-cinema, more precisely, the idea of “a new post-cinematic ecology.”

scholarly journals Liberal feminism and postcolonial difference: Debating headscarves in France, the Netherlands, and Germany

2020 ◽  
pp. 003776862097426
Author(s):  
Anna C Korteweg ◽  
Gökçe Yurdakul
Keyword(s):  
The Netherlands ◽  
First Century ◽  
Control Mechanisms ◽  
Historical Overview ◽  
Liberal Feminism ◽  
Legal Documents ◽  
Western European ◽  
Twenty First Century ◽  
A Site ◽  
Newspaper Articles

In this article, we analyze headscarf debates that unfolded in the first decade of the twenty-first century in France, the Netherlands, and Germany. Through a socio-historical overview looking at newspaper articles and policy and legal documents, we show how the headscarf has become a site for negotiating immigrant-related, postcolonial difference. We argue that certain feminist understanding of gender liberation and postcolonial difference in the headscarf debates reveal the continuity of control mechanisms from the colonial to the postcolonial era. We highlight the possibilities for decolonial thought and practice by centering the situatedness of headscarf. This allows us to show how Muslim citizens are active participants in producing contemporary Western European histories even as some of their practices face overt rejection.

The Norwegian National Library: Poised on the Threshold of the Twenty-First Century

2005 ◽  
Vol 17 (3) ◽  
pp. 123-131
Author(s):  
Jon Bing
Keyword(s):  
Digital Library ◽  
Digital Age ◽  
First Century ◽  
Digital Form ◽  
National Library ◽  
University Library ◽  
Wide Range ◽  
Twenty First Century ◽  
Information Providers ◽  
Extended Notion

The article celebrates the reopening of the National Library of Norway in its refurbished Oslo building in the centenary year of Norway's independence. It describes the evolution of the Library and its separation from Oslo University Library. The deposit function of the Library is centred on its Mo i Rana branch, which now stores material in digital form as well as in traditional formats. The author considers the place of the Library in the wider Norwegian library scene, where the National Library can play a coordinating role. The Norwegian Digital Library, for example, involves other libraries, information providers and system vendors, as well as the National Library. In the digital age, what the National Librarian of Norway describes as the ‘extended notion of texts’ means that society is documented not only by conventional texts, but by sound and images, broadcasts and performances. Preserving these ‘texts’ and making them available to a wide range of users is a challenge of the twenty-first century that the National Library is happy to accept.

scholarly journals Knowing the Unknown Beyond: ‘Italianate’ and ‘Italian’ Horror Cinema in the Twenty-First Century

2016 ◽  
pp. 62-78
Author(s):  
Johnny Walker
Keyword(s):  
The Netherlands ◽  
Horror Films ◽  
First Century ◽  
New Wave ◽  
Twenty First Century ◽  
The 1960S ◽  
The Uk ◽  
Year 2000 ◽  
Formal Distribution

Since the year 2000, European horror cinema has undergone a major revival. After the 1990s, which saw very few European horror films made, the first fifteen years of the twenty-first century witnessed a groundswell in production from France, Germany, the Netherlands, Spain, Serbia and the UK. Italy was also part of this ‘new wave’, though its horror films typically did not reach as wide an audience, nor experience the critical recognition, of its continental neighbours. Italian horror during this period also faced a great irony. Whereas several filmmakers from America and Europe pastiched the Italian horror boom of the 1960s, 1970s and 1980s with films that were widely distributed and commercially well received, Italian directors shooting horror films either in Italy or elsewhere typically lacked access to ‘formal’ distribution (Lobato, 2012) and therefore their films were not as widely seen.

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