MUSEUMS AND TELEVISION: SEIZING OPPORTUNITIES AT A TIME OF CHANGE, FROM A EUROPEAN PERSPECTIVE ANA ALVAREZ MASTERS DEGREE ON MUSEUM STUDIES OCTOBER 1996 ‘40 WoRDSCONTENTS Pages List of figures. = ao ‘Acknowledgements. 1 Introduetanssosnnsnnnninnnnnn 24 1. Museums on Te'evsion. 1, Television “Culture” and Cultural Contents in Television ..mmmannn D116 TH Communicating through Television. vend AD IV. Towards Telesision inthe Digital Eras.onsoes 2029 ‘V. Museums and Television: Ways Forward 30.32 Conclusion. 38 Appendix I The Louvre Museum and its Audiovisual Policy. 3436 ‘Appendix I. Museum proprams of La Sepr-arte, Canal + France, Canal + Spain and some cultural programs in Europe. STAM Appendix IL. Public Service Broadcasters in Europe, Figures and Future Perspectives, 45-48 Appendix. nines an Proposals made in France regarding Television and ‘Museums! Heritage... 49 Bibliography... son 5056LIST OF FIGURES Page Figure 1. Museum attendance figures in France 1990-1995, 2 Figure 2. Media consumption in 1994 in Spi ig Figure 3. Cable and DBS penetration in some European counties. 20 Figure 4. The Eurcpean Pay-TV matket following a Union Bank of Switzerland Report rene Figure 5. Digital TV broadcasting possibilities. sendACKNOWLEDGEMENTS 1am ingetned to number ofinstations and people who have provided me with ‘information, sil, support and advice: Kevin Moore and the Department of Museums Studies ofthe University of Leicester; Ana Gascén, Eva Garcia, Vincent Jrreav, Samago “Morn, Pablo Romero, Santiago de Tomes, and José C. Veer; the staff from the LN.A (Onsttt Nationel de VAudiovsue) andthe CS.A (Conseil Superieur Audiovsue in Pats the Louvre Museum specially the Service Culture] and te Service dela Communication, (Clade-Nicole Hocquard, secetry fom AVICOM (ICOM Commitee on Audiovisual [New Image and Sound); Marie Bonne Le Meur ftom Canal France and Marie Laure Le Sage and Mare Daniele Boussieres fom La Sept-Are, Alvaro Mason and Aritotelis Bourasis from the Directorate General X ofthe European Commission in Brusels and Mara Viesgas fom the European Information Office (UNED, Mads); Hide Van den [Bulk from the Cente for Mass Communication Research from Leicester University and ‘Antonio Robles fom Claroscuro for his graphic kil ‘Last bot not least, I woul ike to thank my ster Cristina, my parents and fends forall ther love and support throughout this exciting yea.INTRODUCTION ‘The tem museum conveys the notion of communication whether expressed diet 4s in the ICOM definition’ or using other concepts which imply i, as the expression "exhibits and iterprets* or "[muscums) share both the collection and te knowledge erived therefor. ‘The lest trends show a decrease of museum vistors asthe result of Europe's economic criss, which has affected tourism and consumer spending.“The competition with other sure atractions and the financial retrant of public monies have forced museums to develop "sir broad! communicative rle™. Promotion is ‘one of the aspests of this rol, which museums "pushed ito the marketplace cannot ‘gore any nee. “Marketing strategies ae being adopted by the growing number of Communications lr Pablo Relatons (PR) Depirtments or Officers, in the ease of smaller museums Advertsing andthe usage of mas media a the main ways to creat a favourable image of museums in od to attract both museum goers and non-istors. Limited budgets athe lack ofan entrepreneurial vision by dzectors and curators are the main obstacles faced by these departmets. Museums cannot always afford the high costs of advertising which ‘offers mass-mecia bt they should make a beter use ofthe interest they arise trough ‘mase-media coverage, Unfortunately, «common attitude of museum staff i to dismiss the sometimes hasty/and ignorant approach of joualiss. When the work of museums’ PR stall is not done enthusiastically and is reduced to sending press releases! or allowing television teams to oocssionally fim temporary exhibitions, scquistions or openings it may not improve the negative image museums sil hol” 1 is the intention of the present dissertation to start inthe fst chapter with a review ofthe reltionship between television and museums from a European perspective It is based minty on French, Spanish and Brish sources, though a broader European and ‘lobl outlook would be desirable in order to complete the sap-sho Apart from these geographical links, the dsseration isan overview fom the Inte eighties unt the present moment, when ihe whole broadcasting and telecommunizations fell is rapidly changing doe to the arnounced digital revohtion, The unpredictable consequences of the technological developments may prove some of the opinions expresed here to be wrong [Nevertves, the second chapter discusses how television has become apart of our culture and stows how the controversy regarding cultural contents in television often ides fn elt postion which museums should not share. Understanding television ‘communication prosesses and how the recent technological changes have affected television are the sir ofthe third and fourth chapter as itis vial for museums. Te lst 3chapter and the conclusion explain how inthe coming Information Society the key role played by tlevsion wil offer interesting possibilities and should reinforce the role of museums a landmarks of cultural entity and mass-tourism, "A museum s «non-profit making, permanent institution in the sevice of society and of its development, and open to the public which sequires, conserves, researches, ‘communicates end exhiits, for purposes of study, education and enjoyment, material «evidence of mas and his environment". © Unied Kingdom Museums Association definition (1984) and Amerizan Association of Museums defirson forthe purposes of accrediation. >. National Museums of Canada definition forthe Federal Cultural Policy Review Commitee (1981), “The “Ensemble line shows a decrease of 11% inthe global figures for museum attendance in France. Mustosi, Tendances, Ministre de la Culture. Direction des snusées de Frans, May 1996. 5. "The broad ccmmunieative role of museums and galleries is developing reply in respons tothe changes in society, in government support forthe arts and museums, and in atitaes within muscums themselves" in Hooper-Greenhll, E, M.A Museum Studies 1995-1896 Course Pack “Communication 1” (npublished) Moore, K, (8), Museum Management, Routledge, London, 1994p. *tha presse estpresse, cet ben conn" in Coatin,C."Le musée au studio de \Slévison" in Musée collections publiguss de France, no. 206, September 1994. OU ex plats fit appl & des oul tradionnels, parmi lesquls les relations presse cccupent une place primordial in ‘Communication calle: pits moyen egandes smbtions. Louwe, Beaubourg, RMON: ls premiers pas dans la com i Com CD/News, 17 Ape 1995. * 1 imagined tat the medi, and primarily the press, was responsible for the negative image of museuns that mas people around me held. began to collect newspaper cutings of museum coverage and to talk to press ofcers in national rmuseums...d very soon realised that stores were fed othe pres by press officers so ‘ha the media simpy reflected museums as they wished to presen themselves with litte etical judgement, compared o other euturalintttions, other than inthe rea of art exhibitions. Ts lead tthe premise that negative images originate within museums" by Poe, 3, How itcan be changed, M. Philosphy, University of Leicester 1993, p.2.I MUSEUMS ON TELEVISION ‘Televison featured museums as early as 1952, when a programme bythe BBC ‘Animal, Vegetable, Mineral! showed how television could foster te public interest in ‘The avarenes of the posites fim and television offre in reaching a witer ‘publi, led tothe Confrence of Museum, Fm and Televison in July 1958 organized by ‘the Intemational Counel of Museums ((COM), under the aupives of UNESCO fell in ‘Brussels. The topics dealt were the folbwing: "co-ordination between museum persone! snd film and TV producers witha view to asising the museums to spread knowledge and anract vistors, and to serving fm and TV in the production of tractive programmes; production on hgh technical ve of flm and television programmes which comespond 10 the aims and gol ofthe museums and which meet the needs of fim and TV", Making the ‘museum more human, tking the sutinces behind the scenes, being very careful not to use ‘scademi language in television programmes, or using the lrge audiences who watch the ‘ews programmes to draw attention to "topical events relating to museums, for instance cations’ were some ofthe issues which came up inthe Conference. ‘The intuence of television has been pointed out as one of th reasons forthe ‘booming popularity of museums since the 1960, when museums sured to sek wider audiences, The popularity of television has proved tobe quit a succesfl means to achieve this sim in comparison with radio and the writen press. Inthe case of the Louvre ‘Mascum, television comes in second place asa source of information about the museum after word of meu in areoert visor suey” (ee TABLE 1),‘TABLE :, SOURCES OF INFORMATION ABOUT THE LOUVRE MUSEUM OeiDec—OetDee 195% ISH “Word of moat (fend rave) a a ‘Televison Py » Radio 7 " “Tena norton Offie 4 2 Comite Serene 3 3 oes 10 n Week site 10 2 Newspaper, Magatine Aric 15 2s Tours Guise 28 2 Museum Leaflet 6 7 Museum Brochure 10 8 Ar Book or Eilon catalogue 8 2 ‘Audietce surveys nowadays tend to focus on nor-visiors. In consequence, the ‘use of television as more opportunities to reach them than prese-eleases in quality ‘newspapers and magazines. Despite this potential, museums are featured in television tego, briefly and they are Wentifed with high culure. Therefore they sre considered by many TV programmers ani viewers as potently rather dll CComeon to almost every courtry, museums coverage in the news broadcast is related t0 eventual blockbusters, acquisitions, find, opeings or controversial issues. This ‘ews concerning museums is included inthe cultural secon during the last few minutes, ‘once the atten of the viewer has been used up by a wide range of home and overseas event ‘Documentary programmes sbout museums or exhibitions ar ether produced by {eleviion chanoele and independent programmes or in collaboration with he ruses The first case can be exemplified by the BBC productions, while Freach Museums like theLouw Museum (See Appendix 1) and the Cente Georges Pompidou have budgets aimed for audiovisual productions in olsboration wih French o foreign TV chanel, ‘These documentary programmes eventually shown on television, are mainly targeted as video-casetes to the museum vsiors at the book-shop. However their commercial sures has been threatened by the growing competition coming from other _mukimeia prosuts, diferent tecnica standards of Video Cassette Recorders (VCR) and lnnguage diversi in Europe. (Once programmed on TV, museum documentary programenes ae rarely shown ‘on prak-time on pubic chanel. Only commercial channels suchas pay-TV, satelite or cable chanels ae abe to do so", La Sep-Arte, Fanco-German cultural public channel, ‘hich is broadest teres, and via satelite and cable i an exception (Appendix shows TV productions repuring museums produced and fextured on La Sept-Arie and Canal+ Franceasd Canal+ Spain 3 other European TV channe'). ‘Otter ypes of programmes tht feature museum colectons, have avoided the locumestary lng-tine format and have Wid the shortatewion span formu. BBC “Taking pictures, France 2 and France 3 "Masterpieces of the Bares Foundation’ and Canal+ France" Le journal du a are some examples of hese types of programmes. (Caturel magazines devoted tothe atest ural tends have eventually fetured museum exhibitons but in some eases, such a5 with "Metropolis" (Spanish, La 2) or "immagina"(taian RAI production fom 1986 until 1992), the programmes have been ‘regulary scheled ant not everlasting, Herage and archaeology programmes like BBC 2 5 "One foot in the Past" or even other types of magazines” alo feture meseums seldom. ‘A thenatc channel about museums, as fr a5 T know, has not yet arrived to the television seeess. The closer effons are relted with hecage and arts. The UK satelitelcable Ans Channel, operated fom EXbw in South Wiles, was aimed "to present sats anc cuhural programmes to an up-market European Audience” elvered on Videotape to cable stations in 1983 and was aval by satelite rom Jary 1986 uni April 1969. Te service was in English with occasional programmes in French and incladed one quarter of visu ats programming. Is fare can be explained taking into account was transmited fom 00.00 to 03.00 in the moming uring the down hours of SKY's pan-European service and a major backer withdrew support. However, the ides of 7 it began a a servicesan as channel was welcomed by Melvyn Bragg", controller of Arts at London Weekend ‘Television, recently Inthe Unie States, Alpha Repertory Television Service (ARTS) wes launched in ‘April 1981 a8 & cable chanme! that inched within ts cultural contents, visu) as documentaries. In 1984 it disappeared and was incorporated to the new the Arts and Entertainment Network (A and E). Thovgh the BBC continued to supply with ans programmes, the new channel was "ined at fy audience an cass lms and a range of American drama and comedy were add, Network brosdcast television compari! intitives in sening up cultural chanel inthe eaty eighties were due to the interest in tracing ght vatchers of television who could provide niche markets for advertises end to the fact there were plentiful supplies of hgh quality programmes avalube at relatively lowcost. Recent, Ovation, USA's fist fin-ars cable television network is expected tobe lnunched in 1996 and the previews lave incided "Socumetaries on the Lowe, Rembrandt connisseurship, Aboriginal painting..." (ne lst issue which his also complicated the relationship of museums and television copyright. This mation intellectual property ight that protets authors an iss. The Ick of common standards rearing fsa lepton, theft ets the troadcasing ofthe works of modem anise (roquting payment of roaties) and the financial needs of museums, which have seen copyrights as ¢ source of income, can be dlscouraging. There is a clear need to regulate this subject with the future posses of the digital revolution”. ‘Consequently, the image of museums in television i reted with immediacy (an opening ora scenfound piece at a given moment) or static vsion ofthe instution in a documentary programme which maybe outdated. It is mainly denied with a galeries nd their colton, fgnorng the wide variety of museums, In order to understand this negative vision about museums it is necessary to review the roacer cntet, thst ite relitonship between television and cute"Inthe mentioned TV programme “aiferent muse 10 ldenfyobjes from ther collections” Lewis, G"Museams in Brain historical survey" n Thompson, M.A. ed), Mani of Curators, Btterworth-Heinemann Ltd, Oxford, 1892, p.37 Reports an Person Mass Cormunicaton, 0.32, UNESCO, Par, 196, p32 S'UNESCO, obi, p36. 4 Basset, DLA, "User services. Inroductin in Thompson, MLA, (ed), Manual of Observatoze Pemavent des Pubic, (unpubsied),p.13. “The series "Relative Values" featured museums whe questioning the monetary value put ‘ona, a season of programmes on Rembrandt and "The Much Loved Fre” a the tine of the opening ofthe National Gallry new wing in 1991 or the letures fiom Nei MoGregor ofthe National Galery the folowing yea. 7, BBC production "Relative Vales" was shown in La 2, Spanish second pubic channel, at 10:0 am. from July unt 7th August 1935 4 For exam, ‘La Vile Louvre’, 21990 French co-prodoction abut the Lowe meseum tehind the scenes was shown at 10:30 pam. onthe 4th September 1996 in Pais Premie, French cable chanel * Broadcasted in 1992 it was sres of 90-econd sos with some paintings and "the commentaries fom people with an interesting and pertinent view”, BBC, BBC Annual ‘esvew 19928, Lonton 1993, "On the oceason ofa temporary exhibition in the Muse Orsay "Materpieces ofthe Barnes Foundaton’, a series of two-minstes sts showing fteen of the pinings was scheduled daly on French public charms, France? and France 3, st 845 pam and 10.15 ‘pm during the month of September 1993. The production was sponsored by the Banque [Nationale de Paris (BNP) and the publsher fem Havas together wih fa Réunion des ‘Musées Nationazx, French pblc body. The aim was to develop a deta ofa ping o © place the workin its context was conceived "at he sae tine as an educational exercise and inctation to discovery. Lefevre, P, "Une touche de couleur dans la plete de res" in CB News, no. 313, th September 1993, p9. "this foursmiaute journal was inched on 20th November 1994 and scheduled on Sundays at 8.30 pm. It was broadcasted unscrambled in pay-tv Canal + France an i simed to de-sralze an offering anecdotes, news and even jokes. Unfortunately i disappeared seven months ter. . “Capital, FRench commercial ctamel M6 fhancial magain, showed on 26th May 1966 very ineresing documentary about Verales Palace tiled "La vie du cate" shout the conservation an management issues of the Place 3. Shaughnessy H, and Foene Cobo, C., The Cita Otigaons of Broadcasting, ‘The European Insite forthe Medi, Manchester, 1990, p.177 It ‘was owned by Unted Cable Corporation, TVS, Equky and Law, Commerc! Union an Gets Perhaps from the great tradition of American philantropy, a Caregleof our tine Bill Gates is almost within earshr- will ee the future through the establishment of a wel-funded, commisioning, creative ars channel, which wll be his surest memorial as at has ‘been again and again throughout Histor” Braga, M, “The pst sa ost chanme", The (Guardian and The Otserver on CD-ROM, Sth ane 1996. ' utchinson,R Cable, DBS and the At, Policy Studies Instat, Loon, 1984, p25. “Kaufman, JE, "Art on TV. New York Times buys into Ovations” in The-Ait ‘Newspaper (interasons Editon), voll, no.56, February 1996, London, 1 "The Green Paper on Copyright and Related Rights inthe Information Society wes adopted on July 19th 1985 bythe Earopean Commision inorerto examine the sues asing from the impact of new technologies and the Infomation Society on copyright and eluted rights. “These rights ae fundamental to protect Europe's curl heritage, which is a ‘gold mine’ of material for information society products, in "Protecting iteetl propery”, Inoxstion & Technology Transfer, vol. 695, November 1995, 4, The opening ofthe Richeeu wing of the Louvre Moseum in November 1993 was not featured on Ar-La Sept, the so-alled “cura Franoo-German TV channel’, instead 1990 "La Vile Lowre” ieresing txt clearly outdated was shown the same week. Maurie, J, "Le Louvre partout, suf sur Ante in Juma de Dinanche, 2nd November 19983. 20Il, TELEVISION "CULTURE" AND CULTURAL CONTENTS IN ‘TELEVISION Museums are beled as cutural sues by TV programmers. Therefore, the ‘motto “tevsin and culture do not match together” has been the main argument to ‘explain ter absence onthe serens ‘The diiculty to define tems suchas culture, quality or culural television bas ed ‘many to despise this mass-medium, This chapter wil try to redres the postion of television in our cuhure and review why cultural contents are not featured as often as many of us ‘would ke, Germen dstietion between Kultur and Bildung has proved very useful in the