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Dit proefschrift keert terug naar de tijd voorafgaand aan de explosieve groei van YouTube in de eenentwintigste eeuw. Met de geleidelijke introductie van video als consumentenelektronica vanaf het midden van de jaren zestig van de vorige eeuw, begon een periode van enkele decennia waarin de komst van het nieuwe medium voor de alledaagse gebruiker met hooggespannen verwachtingen van participatie en mediademocratisering omgeven werd. Dit tijdvak is grotendeels onderbelicht gebleven in de Nederlandse mediageschiedschrijving. Door deze lacune op te vullen komt aan het licht dat video langdurig de populaire verbeelding in haar greep hield. Door veelsoortige en soms vergeten bronnen uit zowel officiële als privé-archieven te bestuderen komt een beeld naar voren van een roerige tijd waarin video op vele verschillende manieren begrepen werd. Aan de hand van drie casussen van specifieke historische media-amateurs wordt inzichtelijk dat video grote betekenis had in termen van "verzet," "verstoring" en "verbintenis." Achtereenvolgens voert het proefschrift langs een idealistisch videocollectief uit Den Haag, een behoudende amateurfilmclub uit Groningen en een Nederlands expatgezin in het Midden-Oosten. Waar het idealistische collectief video opeiste om sociaalpolitieke verandering af te dwingen en ondervertegenwoordigden een stem te geven, werd het gebruik van video in de amateurfilmclub als een gevaarlijke verstoring van de gekoesterde hobby en de gemeenschapszin bezien. Voor het expatgezin daarentegen bood video vele nieuwe mogelijkheden om in beeld en geluid de dynamiek van de familie vast te leggen tegen de achtergrond van een vreemde omgeving die een tijdelijk nieuw thuis werd. ; This doctoral thesis returns to the period before the explosive rise of YouTube. The slow introduction of video as a consumer media technology, from the mid-1960s onwards, set in motion a long phase during which expectations were rife with video's potential for everyday users in terms of participation and media democratisation. This particular era has been largely ignored in Dutch media history. In this thesis the gap is filled and it is revealed that video was able to capture popular imagination for a considerable amount of time during the second half of the twentieth century. By studying a wide array of sometimes forgotten sources, from official as well as private archives, a new picture emerges of a turbulent time in which the possibilities of video were understood in various ways. With three case studies of distinct historical amateur media practitioners, it is shown that video acquired meaning in terms of "resistance," "disruption" and "belonging." The thesis successively discusses a progressive video collective from The Hague, a traditional amateur film club in Groningen and a Dutch expat family in the Middle East. Whereas the idealistic collective claimed video to bring about socio-political change, and to give a voice to the under-represented, outspoken members of the amateur film club regarded the use of video as a threat to the cherished hobby and the spirit of community. The expat family, in contrast, saw many new possibilities in video to capture the dynamic of the family, in sound and vision, against the backdrop of a foreign environment that became their new, temporary home.

For this article, the authors retrieved two curious cases of non-conformist TV from the archives of the Netherlands Institute of Sound and Vision. Being made in the late 1970s and early 1980s, the two cases represent an alternative history of broadcast television in the Netherlands. Whereas Neon (1979–1980) aimed to establish a punk-inspired DIY video culture, Ed van der Elsken (1980, 1981) strived for an expressive amateur film culture. The authors propose to regard these cases as two different experiments on participation in and through media. By conceptualising amateur film and video as counter-technologies, the discursive expectations around their democratic potential can be explored further.

For this article, the authors retrieved two curious cases of non-conformist TV from the archives of the Netherlands Institute of Sound and Vision. Being made in the late 1970s and early 1980s, the two cases represent an alternative history of broadcast television in the Netherlands. Whereas Neon (1979–1980) aimed to establish a punk-inspired DIY video culture, Ed van der Elsken (1980, 1981) strived for an expressive amateur film culture. The authors propose to regard these cases as two different experiments on participation in and through media. By conceptualising amateur film and video as counter-technologies, the discursive expectations around their democratic potential can be explored further.

For this article, the authors retrieved two curious cases of non-conformist TV from the archives of the Netherlands Institute of Sound and Vision. Being made in the late 1970s and early 1980s, the two cases represent an alternative history of broadcast television in the Netherlands. Whereas Neon (1979–1980) aimed to establish a punk-inspired DIY video culture, Ed van der Elsken (1980, 1981) strived for an expressive amateur film culture. The authors propose to regard these cases as two different experiments on participation in and through media. By conceptualising amateur film and video as counter-technologies, the discursive expectations around their democratic potential can be explored further.

Frontmatter --Contents --Digging into Digital Roots. Towards a Conceptual Media and Communication History --Technologies and Connections --Networks --Media Convergence --Multimedia --Interactivity --Artificial Intelligence --Agency and Politics --Global Governance --Data(fication) --Fake News --Echo Chambers --Digital Media Activism --Users and Practices --Telepresence --Digital Loneliness --Amateurism --User-Generated Content (UGC) --Fandom --Authenticity --Authors