Video Makers Research Articles

Mapping the Traces of the Media Arts Center Movement

Mapping the Traces of the Media Arts Center Movement Lindsay Kistler Mattock (bio) Allen and Gomery's seminal text Film History: Theory and Practice encouraged film scholars to move beyond the filmic object and consider the archives as an object of inquiry. The archives contain not only moving images encoded on film and video but also the traces of the activities of the makers, distributors, exhibitors, and audiences that are part of the ecology of media production and viewership.1 The methodologies of new cinema history encourage the exploration of the archives, deemphasizing the focus on the film-as-text and opening new lines of historical inquiry. The distant reading practices of digital humanities open additional opportunities to explore the archival record and provide a deeper understanding of film and video production and consumption. Building from the archives of the Film Section of Pittsburgh's Carnegie Museum of Art, Mapping the Independent Media Community (MIMC)—an ongoing digital humanities project—builds from these practices to historicize the Media Arts Center Movement of the 1970s and its impact on independent film and video production, distribution, exhibition, and preservation throughout the 1970s and 1980s. Histories of independent media production center on the efforts of artists, exploring each work of film or video as the personal product of an individual.2 In reality, the growth of independent media production throughout the mid-to late twentieth century was supported by a network of organizations, including museums, archives, artist collectives and cooperatives, and equipment access centers designated as Media Arts Centers. MIMC uses the Film and Video Makers Travel Sheet, a monthly publication produced by the Film Section of the Carnegie Museum of Art from 1973 to 1987, as the starting point for the project. The Travel Sheet aimed to "encourage and facilitate wider use of exhibition and lecture tours by film and video makers" by advertising the scheduled screenings and tentative travel plans of film and video makers and publishing the contact information for organizations that were willing to host makers and screen independent media. The Film and Video Makers Directory, published as a supplement to the Travel Sheet in 1978 and 1979, provides additional data points, listing the organizations and makers highlighted in the subsequent issues of the Travel Sheet as well as other subscribers to the publication. MIMC uses the Travel Sheet and Directory to analyze the network of organizations and individuals supporting the production, distribution, exhibition, preservation, and study of independent film and video during the formative years of the Media Arts Center Movement. Currently the first stage of development is entry of data from the Travel Sheet and Directory into a database application. Over the next year, the MIMC project team anticipates launching a web application that will allow researchers to query the MIMC database and generate visualizations of the data using network diagrams and mapping tools. This article outlines the development of the project over the last three years and its future direction as it aims to become a research tool for scholars and archivists concerned with independent media production in the United States and abroad. MEDIA ARTS CENTERS AND THE TRAVEL SHEET MIMC grew out of an interrogation of the history of the Media Arts Center Movement and an exploration of the role of Media Arts Centers in moving image preservation.3 In 1973, Pacific Film Archive curator Sheldon Renan articulated a plan for the development of regional film centers pushing against the perceived faults of the American Film Institute's centralized structure. At that time, he argued, the Museum of Modern Art (MoMA) in New York City, the Library of Congress, and George Eastman House were the three main centers with exhibition and archives programs, leaving key regions in the United States without representation. Renan points to a "grassroots" movement originating in these underserved regions—the Pacific Northwest, the central states, New England, and the Bay Area—arguing for the establishment of a "network" of "full service film resource centers" with a central facility in each region that would [End Page 119] Click for larger view View full resolution Figure 1. Organizations (squares) and individuals (teardrops) from the 1979 Film and Video Makers Directory. Map generated by...

“... Foda!”: a bossa das palavras, música e imagens de Caetano Veloso

Estudo sobre o trinômio texto-música-imagem no videoclipe A Bossa Nova é foda do compositor, poeta e cantor Caetano Veloso, dirigido por Fernando Young e Tonho Quinta-feira (VELOSO, BANDA CÊ, YOUNG e QUINTA-FEIRA, 2013), a partir de referenciais analíticos multidisciplinares: [1] a interação entre as linguagens verbais, sonoras e imagéticas na compreensão e comunicação de significados (PEIRCE, 2005; SANTAELLA, 2005; PLAZA, 2003); [2] os conceitos de Segmentação, Contorno de Ativação, Cinemática, Dinâmica e Pontos de Sincronização em movimentos de dança (HAGA, 2008, adaptados à análise de vídeos de música por BORÉM, 2014, BORÉM, 2016); [3] o reconhecimento de emoções e sensações na linguagem corporal, especialmente nas expressões faciais (emoções básicas, EKMAN e FRIESEN, 2003). Os resultados mostram que a intrincada codificação na letra da música apresenta grande correspondência com ambos os sons da gravação de áudio e o videoclipe. Mais do que isso, a integração entre estas três instâncias de comunicação – palavras, sons e imagens – forma um complexo e sofisticado mosaico com grande unidade estrutural nos níveis locais, médios e global da obra, permitindo tanto uma leitura e fruição imediatas quanto uma compreensão analítica mais aprofundada.

Re:lating Necessity and Invention: How Sara Diamond and The Banff Centre Aided Indigenous New Media Production (1992–2005)

Abstract For many years The Banff Centre was known to be instrumental in supporting the creation of many Indigenous curatorial, visual art and media art initiatives from the early 90s. This interview with Dr. Sara Diamond sheds insight and make links to her background with the B.C. labour movement, her early practice as a social activist and video maker, her close friendships with several noted key Indigenous artist frontrunners and the lead she then took to continually include and expand the presence of Indigenous artists and thinkers, our worldviews and communities at The Banff Centre from 1992 to 2005.

‘People like me don't make things like that’: Participatory video as a method for reducing leprosy-related stigma

ABSTRACTThe Stigma Assessment and Reduction of Impact project aims to assess the effectiveness of stigma-reduction interventions in the field of leprosy. Participatory video seemed to be a promising approach to reducing stigma among stigmatized individuals (in this study the video makers) and the stigmatisers (video audience). This study focuses on the video makers and seeks to assess the impact on them of making a participatory video and to increase understanding of how to deal with foreseeable difficulties. Participants were selected on the basis of criteria and in collaboration with the community health centre. This study draws on six qualitative methods including interviews with the video makers and participant observation. Triangulation was used to increase the validity of the findings. Two videos were produced. The impact on participants ranged from having a good time to a greater sense of togetherness, increased self-esteem, individual agency and willingness to take action in the community. Concealment of leprosy is a persistent challenge, and physical limitations and group dynamics are also areas that require attention. Provided these three areas are properly taken into account, participatory video has the potential to address stigma at least at three levels – intrapersonal, interpersonal and community – and possibly more.

De campos y árboles para hablar de muertos. El videoarte contra la indiferencia de las representaciones mediáticas

<p>Resumen</p><p>¿Cuál sería la función de los cineastas y videastas en relación con la imagen televisiva y de otros medios de comunicación? La cuestión política del videasta comprometido podría ser la siguiente: ¿Cómo despertar en cada espectador las dudas y las crisis que el espectáculo (mediático) tiene como meta rechazar y alejar? El artículo describe características básicas del uso de la violencia en la televisión y su respectivo manejo en el arte del video. A partir de las obras de dos videastas- cineastas: Chantal Akerman (Bélgica) y Eliane Chiron (Francia), se analizan cuestiones de poder, imagen e intimidad, relacionadas con el tema y con la representación de la violencia.</p><p>Palabras claves</p><p>Imagen, violencia, paisaje, tiempo, videoarte.</p><p> </p><p>Chagra sachakunapi wañuskakunawamanda rimangapa kawarikuiawa mana sugrigcha munagata Sugllapi ¿ima ruraitaka uikankuna cineastakuna videastakuna chi kawachidirukunawa sugkunapi televisionpi?videastapi compromiso politikapi kasachar karrinsha. ¿Imasa kawachingapa kawadurta kai kawachikunawa kawangami kawangapamanapa? Kaipi willakumi imasapi llakuchingapa televisionpi imasa video manejangapa munaskasina iskai videaskakuna: Chantal Akerman (Belgikamanda) Eliane Chiron (Franciamanda), kawankuna imasa chi jiru kawachikuna jiru. Ima suti Rimai Simi: kawari llakichinakui sumakawari pucha, tiempo, video kawari.</p><p> </p><p>On Fields and Trees to Speak of the Dead: Video Art against the Indifference of Media Representations. Abstract</p><p>What would the role of film and video makers be regarding the TV image and the image from other media? The political question of the committed video maker could be as follows: how to raise in every viewer the doubts and crises that the (media) spectacle aims to reject? The article describes the basic characteristics of the use of violence on television and how these characteristics are managed in video art. Issues of power, image and intimacy are discussed in connection to the above and to the depiction of violence, guided by the works of two video artists/filmmakers: Chantal Akerman (Belgium) and Eliane Chiron (France).</p><p>Keywords</p><p>Image, violence, landscape, time, video art.</p><p>Des champs et des arbres pour parler des morts : La videoarte contre l´indifférence des représentations de médias. Résumé</p><p>Quelle pourrait être la fonction des cinéastes et vidéastes par rapport à l’image télévisuelle et autres moyens de communication ? La question politique du vidéaste engagé pourrait être la suivante : comment réveiller dans chaque spectateur les doutes et les crises que le spectacle (médiatique) a pour but de rejeter et d’éloigner ? L’article décrit les caracté- ristiques de base de l’usage de la violence à la télévision et son maniement dans l’art de la vidéo. À partir des oeuvres de deux vidéastes-cinéastes : Chantal Akerman (Belgique) et Eliane Chiron (France), nous analysons les questions du pouvoir, de l’image et de l’intimité, mises en relation avec le sujet et avec la représentation de la violence.</p><p>Mots clés</p><p>Image, violence, paysage, temps, art vidéo. Campos e árvores para falar dos mortos: vídeo-arte</p><p>contra a indiferença das representações das mídias. Resumo</p><p>Qual seria o papel de cineastas e vídeo sobre a imagem de TV e outras mídias? A questão política de cinegrafista comprometido poderia ser o seguinte: como despertar em cada espectador dúvidas e crises que o show (mídia ) pretende rejeitar e fora? O artigo descreve características básicas do uso da violência na televisão e respectiva gestão em video-arte. A partir das obras de dois cineastas videastas: Chantal Akerman (Bélgica) e Eliane Chiron ( França), são discutidas questões de poder, imagem e intimidade de, relacionado com o tema e a representação da violência.</p><p>Palavras chaves</p><p>Imagem, violência , paisagem, tempo, vídeo-arte.</p>

You Know You Love Me

In this paper, I analyse young women's video remixes of the teen drama Gossip Girl. With its emphasis on glamour, style, and status and its interpellation of young female viewers as the ideal consumers within neoliberal regimes, Gossip Girl bears many of the marks of post-feminist media. Drawing on an archive of videos posted to YouTube during the programme's first two seasons, I show how young video makers re-imagine the programme's post-feminist aesthetics. Gossip Girl fan videos frequently seek to create emotional intensity through repetition of close-ups on the female face. They also use innovative digital editing techniques to alter television's realist aesthetic and portray split, fragmented, or contradictory subjects. This focus on the face and amplification of affect cuts out the source text's emphasis on the teenage body as a vehicle for product placement, and challenges the neoliberal privileging of economic success and independence. At the same time, the videos also contain their own limitations, reproducing the young female body as a site of spectacle.

Visual Ethnography

John Hondros’ website is Visual Ethnography of Amateur Video Makers. Hondros’ research advances our understanding of how websites can be used to represent ethnographies in a visually rich and interactive way through his documentation of amateur video makers’ transition to the Internet age. Rather than starting from the YouTube generation, Hondros’ choice to research the adoption of the Internet by already established video makers offers a rare insight into the impact of the Internet on their distribution practices. In particular, the project offers a useful “route-map” for how to go about designing a website to represent ethnographies of online spaces. Hondros’ work engages three key areas: public access TV in California, UK video activists, and fan video makers examining how they have each made the transition to various online methods of distribution, revealing insights into the affordances (and limitations) of various platforms. The website forms the audio-visual support for Hondros’ theory-based PhD, but it also operates as a stand alone visual ethnography of his informants’ passionate, though problematic, engagement with amateur video making.

Analisis Resepsi Penonton Atas Popularitas Instan Video Youtube Keong Racun Sinta dan Jojoe

<p><em>‘Keong Racun’ Sinta dan Jojo YouTube Video is the beggining of instant popularity phenomena. Video maker’s popularity is the result of viewers reception by watching their lipsync style singing a song titled ‘Keong Racun’.</em></p><p><em>Reception analysis conducted by semiotic analysis based on Triangle Meaning Theory by Pierce consisting of sign, object, and interpretant of the video.</em></p><p><em>The result of the semiotic analysis is the meaning as preferred reading which show narcissism’expression of the video maker to attrack viewers attention. Further, the research did indepth interview with four informants who randomly selected based on specific criterias (purposive sampling) to get their reception. The data of interview categorized and compared with preferred reading of the video so there are three positions of reception analysis : dominant-hegemonic reading, negotiated reading, and oppositional-hegemonic reading.</em><em></em></p>

Decolonizing hybridity: indigenous video, knowledge, and diffraction

This article examines the hybrid cultural geographies of indigenous video with Donna Haraway’s visual strategy of diffraction. Drawing on ethnographic inquiry, one particular video is explored from three different perspectives. First, a festival audience celebrates how the video represents place-based belonging, the joys of collective labor, and indigeneity. Second, a geographical analysis articulates the transnational circuits of advocacy and collaborative practices of knowledge production that shaped this video and its subsequent travels. Third, an extended conversation with the video maker about his target audience reveals a political intervention not visible from the first two angles of analysis. When diffracted, this thrice-told story about one video provides lessons about the potential for indigenous video to decolonize scholarly authority.

<i>Optic Antics: The Cinema of Ken Jacobs</i> (review)

Reviewed by: Optic Antics: The Cinema of Ken Jacobs Erika Balsom (bio) Optic Antics: The Cinema of Ken Jacobs; EDITED BY Paul Arthur, David E. James, and Michele Pierson Oxford University Press, 2011 Ken Jacobs has been a key figure of the American avant-garde cinema for over half a century, but his films, videos, and performances have never been more relevant. As 3-D makes its return to suburban multiplexes everywhere, raising questions of the precise nature of cinematic illusionism and the allure of its spectacular attraction, Jacobs's extensive work with stereoscopy and visual astonishment provides a more thorough investigation into these matters than can be found in any critical literature to date. When the obsolescence of photochemical film poses serious questions for avant-garde cinema, a sphere of practice long invested in the specific qualities of that medium, Jacobs's unequivocal transition to digital video offers a rich case study in what changes and what remains the same after celluloid. Scores of young filmmakers and video makers are ransacking the audiovisual archive in the production of found-footage work, but Jacobs was there first. And as standard theatrical exhibition is no longer the default situation in which moving images are consumed, the need to think through an existing history of paracinematic forms—such as Jacobs's Nervous System and Nervous Magic Lantern performances— becomes imperative. In short, despite belonging to the foundational generation of the American avant-garde, there is a sense that Jacobs's moment is now. All of these phenomena suggest that the appearance of Optic Antics: The Cinema of Ken Jacobs is rather timely, but as the first book dedicated solely to the filmmaker, its arrival is terribly belated. Following in the wake of single-filmmaker anthologies such as To Free the Cinema: Jonas Mekas and the New York Underground (1992) and Stan Brakhage: Filmmaker (2005), both edited by David E. James, Optic Antics assembles a diverse group of contributors, each bringing a distinct method and style to the project. In a prospectus written for Oxford University Press, the late Paul Arthur wrote that this anthology would not function "as a resolution or systematic untangling of the many contrasting, sometimes dissonant, chords in Jacobs's work" but instead would be "conceived as a discursive analogue to its underlying spirit of raucous contention" (19). These essays very [End Page 136] much fulfill Arthur's hope, combining personal tribute, artists' projects, scholarly analysis, and historical narrative to produce a compelling and multifaceted account of Jacobs's practice. An Art Spiegelman cartoon detailing how a screening in Jacobs's class spawned the idea for Maus: A Survivor's Tale (1986) sits easily next to David E. James's parsing of the literary-historical background of The Sky Socialist (1964-68); Amy Taubin's fascinating interview with Flo Jacobs, "Flo Talks!," leads into Nicole Brenez's highly theoretical account of the figural economy of the various projects Jacobs derived from Billy Bitzer's 1905 film Tom, Tom, the Piper's Son. However, despite the clear investment Optic Antics demonstrates in combining a multiplicity of sometimes contradictory approaches to Jacobs's life and work, across the book's twenty-three contributions, key concerns—and key omissions—emerge. Central to the book is an effort to understand Jacobs's use of found footage from the preclassical cinema as something other than a materialist inquiry into the nature of the film medium. The notion that Jacobs might be engaged in a variety of ontological investigations proper to structural film has been perhaps the dominant way of thinking about the filmmaker's work since the publication of P. Adams Sitney's seminal Visionary Film: The American Avant-Garde. While this dimension of Jacobs's filmmaking garnered a positive evaluation from Sitney, as the intellectual and artistic climates shifted in the 1980s, others would brandish the label of formalist as an epithet. The fascinating time capsule of experimental film culture offered in Scott MacDonald's "Ken Jacobs and the Robert Flaherty Seminar" describes the uproar that resulted when Jacobs showed XCXHXEXRXRXIXEXSX (1980)—a Nervous System performance using a short pornographic film from the early 1920s—at the 1992 seminar. Audience members accused Jacobs...

Video-mediated nostalgia and the aesthetics of technical competencies

Certain binaries have dominated scholarly approaches to research on digital video creation. The first is concerned with comparing videos made by professionals versus amateurs. The second is the binary contrasting the use of images for memory preservation versus sharing experiences and negotiating identities. The present case study of teen video makers on YouTube illustrates how youth in the United States may approach their video making in more fluid ways that do not fit comfortably within these analytical binaries. The study draws on a range of ethnographic evidence such as interviews, text comments posted to videos, and visual analyses of two videos that are live-action instantiations of a video game. The study suggests that investigating the interaction between aesthetics and technical knowledge in video-mediated, parodic forms of nostalgia may be a rich and productive area to explore. These constructs are particularly fruitful when trying to understand meanings behind video creation and communication. They also lend insight into how youth communicate aspects of the self through video.

Application of video anaglyph maker for 3-D flow simulation

In this article, the anaglyph video maker is employed for generating realistic 3-D flows and the software FlowAnimator is developed using that technology. Based on Microsoft Windows Presentation Foundation (WPF), the real 3-D scene is set up and marker particles are distributed in it randomly in order to create a more natural flow scenario. The trajectory of the particle motion is calculated with Lagrangian description in 3-D space. During the simulation, the viewport can be changed in order to focus on different parts of the model by panning, zooming, rotating and inclination variation etc. Marker particles may appear in different shapes: spheres, tracking-balls, cylinders and ribbons in order to fit different flows. It is the first time that the video anaglyph technology is employed in the 3-D hydrodynamic simulation, which removes the obstacles for 3-D scenes to be rendered on a flat-panel display.

MOTION AND DISTORTION

Jompet Kuswidananto and Tintin Wulia are two young Indonesian artists who create art installations consisting of a rich variety of media, ranging from video and sound to kites, passports, masks and bicycles. While many other young video makers create slick short films in the style of MTV video clips, Jompet and Tintin usually integrate their videos into art installations to give a multimedia and multilayered critique on processes of mediation and media interactivity. In this respect, they fall outside current trends in Indonesian video art and continue the tradition of media metadiscourse as established by the pioneering generation of Indonesian video artists. I argue here that underlying Jompet and Tintin's work is a personal dissatisfaction with the Indonesian broadcasting world. If their work is about a new ethics for the media, their subtle call is specifically directed at the Indonesian public and commercial television stations, which have neglected and underestimated the intellectual skills and informational needs of the Indonesian public for many years. *I would like to thank Krisna Murti for drawing my attention to the work of Jompet and Tintin. Also thanks to Amrih Widodo for personally introducing me to Tintin. Jompet and Tintin have both been very generous with assisting me in the research on which this article is based.

Living in a Den of Thieves: Fan Video and Digital Challenges to Ownership

is delivered to you. Your television and your computer are going to become the same device within the foreseeable future.9 Official and unofficial authors were perhaps surprised to find themselves on the same side of the batde lines during the strike, allied as creative workers in the context of convergence. Participants in online fandom, who are uniquely equipped to realize the Web's status as a commercial platform, banded together to support television writers by picketing, educating, and fundraising. Mean while, fans too are wondering how they will be contracted and compensated in a me dia economy that increasingly attempts to harness and monetize their activities. It is the potential queerness of convergence itself?transgressing the accepted boundaries of media formations, which makes for strange bedfellows and hybrid offspring?that enables the increasing fertility of queer viewing, and these proclivities necessitate new negotiations and protocols on the part of the industry. Toaster Lover allegorically represents Video Maker's optimistic fantasy of a warm relationship between media producers and consumers: a romance between the monstrous automaton and the scrappy softy who find true love as war between their kind is waged around them. Vidders incarnate an alternative fantasy of kinship; collective, networked, and unsanc tioned, they reproduce without a patriarchal center. It remains to be seen whether the constraints of sponsored initiatives such as Video Maker, with their intrinsic compro mises and contradictions, can adequately channel fandom's procreative potential into one big happy capitalist family. *

Las fotografías en este número a cargo de: Massimiliano Tommaso Rezza (Italia / Italy)

Las fotografías en este número a cargo de:Massimiliano Tommaso Rezza (Italia / Italy) Massimiliano Tommaso Rezza (bio) Click for larger view View full resolution (Page 5) Click for larger view View full resolution (Page 8) Click for larger view View full resolution (Page 64) Click for larger view View full resolution (Page 94) Click for larger view View full resolution (Page 123) Click for larger view View full resolution (Page 124) Click for larger view View full resolution (Page 138) Click for larger view View full resolution (Page 148) Click for larger view View full resolution (Page 155) Massimiliano Tommaso Rezza Massimiliano Tommaso Rezza, fotógrafo y videógrafo, nació en 1967. Participó en el Festival Internacional de Fotografía de Rome (2008, 2009) y expuso sus obras en Austria, Italia, España y Rusia. Sus obras fueron reseñadas en las revistas como LensCulture and Drome. Actualmente reside y trabaja en Roma. Massimiliano Tommaso Rezza, photographer and video maker, was born in 1967. He has participated in the International Festival of Photography of Rome (2008, 2009) and has exhibited his work in Austria, Italy, Spain, and Russia. His works have been reviewed in such magainzes as Lens Culture and Drome. He currently lives and works in Rome. Copyright © 2009 Dickinson College, Johns Hopkins University Press, autores, artistas (authors, artists)

Indigenous Media And The End Of The Lettered City

What can indigenous media – the booming production of documentaries, docudramas, fictions, and community television by indigenous movement organizations – contribute to understanding the logic of p...

Publicly Private and Privately Public: Social Networking on YouTube

YouTube is a public video-sharing website where people can experience varying degrees of engagement with videos, ranging from casual viewing to sharing videos in order to maintain social relationships. Based on a one-year ethnographic project, this article analyzes how YouTube participants developed and maintained social networks by manipulating physical and interpretive access to their videos. The analysis reveals how circulating and sharing videos reflects different social relationships among youth. It also identifies varying degrees of “publicness” in video sharing. Some participants exhibited “publicly private” behavior, in which video makers’ identities were revealed, but content was relatively private because it was not widely accessed. In contrast, “privately public” behavior involved sharing widely accessible content with many viewers, while limiting access to detailed information about video producers’ identities.

Creative Communities after Television: The Collective Authorship of Channel 101

Creative Communities after Television: The Collective Authorship of Channel 101

When Did They Copyright the World Without Us Noticing?

When Did They Copyright the World Without Us Noticing?

Packaging Indigenous Media: An Interview with Ivan Sanjinés and Jesús Tapia

ABSTRACTAn interview with two key figures in the indigenous video movement in Bolivia conducted at the Taos Talking Pictures Film Festival in New Mexico. In the interview, Ivan Sanjinés and Jesús Tapia describe the development of indigenous video centers and organizations in Bolivia, their work with video makers across Latin American, their goals during their 2002 U.S. video tour, their reactions to their audience's questions, and notions of authorship and collaboration as a process that extends from communities in which videos are made to hemispheric networks of media makers. I introduce the interview by situating indigenous video in Bolivia within the wider and significant historical shift toward indigenous politics in Bolivia in the 1980s and 1990s and draw from the interview new meanings for the term indigenous media that involve the ways video makers assemble and package a multiplex of technologies, resources, social organizations, cultural principles and imagery into a representational form that extends beyond the completed videotape.