Increasingly new media platforms are making claims to liveness. Looking back in television history we also find programmes that were recorded, but kept up the claims of being live. This raises the question as to what accounts for the attraction of the live? Focusing on Ein Platz für Tiere and the Netflix Live spoof of 2017 this article discusses disparate articulations of the live and addresses the need to balance freedom, chaos and control on the part of media producers. For their greatest challenges is that boredom and chaos haunts their output simultaneously. It clarifies also how liveness is not a given property of any technology, but in fact hard work.

Additional Metadata
Keywords liveness, television, online media platforms, Netflix Live, animals, control
Publisher Netherlands Institute for Sound and Vision
Journal VIEW Journal
Rights Each article is copyrighted © by its author(s) and is published under license from the author(s). When a paper is accepted for publication, authors will be requested to agree with the Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Netherlands License.
Note VIEW Journal of European Television History and Culture; Vol 7, No 13 (2018): The Many Lives of Europe’s Audiovisual Heritage; 60-68
Citation
van Es, Karin, & Keilbach, Judith. (2018). Keeping Up the Live: Recorded Television as Live Experience. VIEW Journal, 7(13), 60–68.

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