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In this article, television is reconsidered as a hybrid 'repertoire' of memory. It is demonstrated how new dynamic production and scheduling practices in connection with highly accessible and participatory forms of user engagement offer opportunities for television users to engage with the past, and how such practices affect television as a practice of memory. The media platform Holland Doc is discussed as a principal case study. By adopting and expanding Aleida Assmann's model of the dynamicsdoi:10.25969/mediarep/14070 fatcat:sgrkqqgntbfphmlnhbzziaspsm