Cover

TMG – Journal for Media History

Vol 19, No.2 (2016)

‘Typography in Media Historical Perspective’

Gutenberg’s invention of movable type has played a vital role in modern history. The introduction of new (digital) media technologies seems to signal a second typographical revolution, which will change our conceptions and practices of reading, writing and publication of texts radically. Therefore new forms of ‘information’, reflection, and research are needed.

Ekaterina Zaitseva and Kemal Eroğlu developed this experimental online prototype for this special issue of TMG of which the official version can be found here. They also designed the typographic layout of the pdf versions of the articles. This experimental website is a prototype and therefore only partly functional, and some of the functions, such as the reference to other relevant issues of TMG are simulated with arbitrary references.

The editorial board would explicitly like to thank Ewan Lentjes for his invaluable contribution to this special issue as guest editor.

‘Typografie in mediahistorisch perspectief’

Gutenbergs uitvinding van de boekdruk heeft een cruciale rol gespeeld in de ontwikkeling van de moderne geschiedenis. Met de nieuwe-mediatechnologie lijkt een tweede typografische revolutie haar intrede te doen. Onze opvattingen over lezen, schrijven en publiceren veranderen radicaal. Nieuwe vormen van ‘informatie’, reflectie en onderzoek dienen zich aan.

Als onderdeel van hun eindexamenproject voor de afdeling Graphic Design (ArtEZ Arnhem) hebben Ekaterina Zaitseva en Kemal Eroğlu een experimentele online prototype voor dit themanummer van TMG ontwikkeld waarvan de officiële versie hier kan worden geraadpleegd. Ze hebben ook zorg gedragen voor de typografische vormgeving van de pdf versies van de artikelen.
Aangezien deze experimentale website een prototype is, zijn niet alle functies uitgewerkt en sommige (zoals bijvoorbeeld de referentie aan relevante andere artikelen) gesimuleerd met arbitraire verwijzingen.

De redactie bedankt Ewan Lentjes die als gastredacteur een substantiële bijdrage heeft geleverd aan de totstandkoming van dit nummer.

Colophon

Editor/redacteur: Jack Post

Guest Editor/gastredacteur: Ewan Lentjes

Editor-in-Chief/eindredacteur: Thunnis van Oort

Design/ontwerp: Ekaterina Zaitseva and Kemal Eroğlu

Coding (online version/versie): Bernd de Ridder

Mailing Address

Rijksuniversiteit Groningen, Faculteit der Letteren
t.a.v. Tom Slootweg
Oude Boteringestraat 23
9712 GC Groningen
t.slootweg@rug.nl

Principal Contact

Bas Agterberg
Publisher
Nederlands Instituut voor Beeld en Geluid
Postbus 1060
1200 BB Hilversum
Phone: +31 (0)35 6777062
Email: uitgevertmg@beeldengeluid.nl

Support Contact

Bas Agterberg
Phone: +31 (0)35 6777062
Email: uitgevertmg@beeldengeluid.nl

Entertainment from the Netherlands: the Geesink collection
Abstract

The German photographer Erich Salomon is generally celebrated in historiography as an ingenious photographer who was the first to photograph dignitaries, including Dutch politicians, in relaxed poses and portraying them as real people of flesh and blood. He achieved this by using the snapshot and candid camera ‘method’. Rather than focusing on Salomon himself, this article considers the contexts within which he worked and the developments that preceded his popularity. The fact that his photoswere seen to be special (representing a breakaway from his colleagues ‘political’ photos) and yet not shocking, indicates that the readers of illustrated magazines were apparently open to images of dignitaries in relaxed poses. Although politicians had as a rule been portrayed in a stiff and formal way previously, photorealism already brought them somewhat closer to the public. The process of narrowing the gap betweenpolitics and the public got underway as early as the second half of the nineteenthcentury and various developments in politics, journalism, photography and technology were already pointing to a tendency to personalise and popularise politics and politicians. This article describes these developments and shows that Salomon’s work was in line with the general trend to personalise photography. As such it is intended to do greater justice to the historical context and continuity within which Salomon operated.

Read article