Film Hates Video Video Hates Film Film Loves Video Video Loves Film Schnittstellen Zwischen Musikclip Und Film Bei John Maybury Und Garth Jennings
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Film Hates Video Video Hates Film Film Loves Video Video Loves Film
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Author : Marlen Richter
language : de
Publisher: GRIN Verlag
Release Date : 2011
Film Hates Video Video Hates Film Film Loves Video Video Loves Film written by Marlen Richter and has been published by GRIN Verlag this book supported file pdf, txt, epub, kindle and other format this book has been release on 2011 with Performing Arts categories.
Magisterarbeit aus dem Jahr 2010 im Fachbereich Medien / Kommunikation - Film und Fernsehen, Note: 1,3, Friedrich-Schiller-Universität Jena (Lehrstuhl für Geschichte und Ästhetik der Medien), Sprache: Deutsch, Abstract: Nur geringfügig findet er Anerkennung in der Medien- bzw. Filmwissenschaft. Neben bedeutenden Filmklassikern oder innovativsten Independent-Filmen wird er vornehmlich als irrelevanter Werbespot abgetan: der Musikclip. Dabei wird vielleicht vergessen, dass auch der Film Anlaufschwierigkeiten auf dem Weg zur Wertschätzung hatte. Trotzdem nahm man ihn schon zu seinen Anfängen in den wissenschaftlichen Diskurs auf. Ebenso wurden Ende der 1980er Jahre einige Studien zum Musikclip publiziert. Diese erscheinen mit Blick auf zeitgemäße Umgestaltungen in diesem Bereich zum Teil allerdings als rückständig. Zudem ermöglichen sie selten die Öffnung hin zur filmwissenschaftlichen Betrachtung. Zur Erweiterung des Feldes der Musikclipstudien in diese Richtung verfolgt vorliegende Arbeit das Ziel, die Werke von Regisseuren zu fokussieren, die auf dem Gebiet der Musikclips als auch an Filmen arbeiten. Diese Arbeit möchte Lücken schließen, die in bisher eher allgemein geprägten Studien zu Musikclips zurück geblieben sind und durch spezifisch filmwissenschaftliche Analysen nicht aufgegriffen wurden. Eine solche Lücke stellt die Verbindungsarbeit zwischen britischem Film und anderen Medien dar. Großbritannien ist betreffs des Musikclips Kern der Betrachtung, weil es neben den USA ebenfalls eine entscheidende Rolle in der Musikclipentwicklung gespielt hat. Das Music Television (MTV) wurde 1981 zwar in den USA ins Leben gerufen, womit sie die bezeichnende Stellung in Musikclipstudien inne haben. Großbritannien aber beheimatete schon Regisseur Bruce Gower, dessen Clip für Bohemian Rhapsody von Queen als erster Musikclip gilt. Auch kam noch zu Anfangszeiten MTVs der Großteil der Musikclips aus Großbritannien. Selbst in aktuelleren Studien werden kaum neue Musikclips behande
Video
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Author : Yvonne Spielmann
language : en
Publisher: MIT Press
Release Date : 2010-08-13
Video written by Yvonne Spielmann and has been published by MIT Press this book supported file pdf, txt, epub, kindle and other format this book has been release on 2010-08-13 with Art categories.
An argument that video is not merely an intermediate stage between analog and digital but a medium in its own right; traces the theoretical genealogy of video and examines the different concepts of video seen in works by Vito Acconci, Ulrike Rosenbach, Steina and Woody Vasulka, and others. Video is an electronic medium, dependent on the transfer of electronic signals. Video signals are in constant movement, circulating between camera and monitor. This process of simultaneous production and reproduction makes video the most reflexive of media, distinct from both photography and film (in which the image or a sequence of images is central). Because it is processual and not bound to recording and the appearance of a “frame,” video shares properties with the computer. In this book, Yvonne Spielmann argues that video is not merely an intermediate stage between analog and digital but a medium in its own right. Video has metamorphosed from technology to medium, with a set of aesthetic languages that are specific to it, and current critical debates on new media still need to recognize this. Spielmann considers video as “transformation imagery,” acknowledging the centrality in video of the transitions between images—and the fact that these transitions are explicitly reflected in new processes. After situating video in a genealogical model that demonstrates both its continuities and discontinuities with other media, Spielmann considers three strands of video praxis—documentary, experimental art, and experimental image-making (which is concerned primarily with signal processing). She then discusses selected works by such artists as Vito Acconci, Ulrike Rosenbach, Joan Jonas, Nam June Paik, Peter Campus, Dara Birnbaum, Nan Hoover, Lynn Hershman, Gary Hill, Steina and Woody Vasulka, Bill Seaman, and others. These works serve to demonstrate the spectrum of possibilities in video as medium and point to connections with other forms of media. Finally, Spielmann discusses the potential of interactivity, complexity, and hybridization in the future of video as a medium.
Paik Video
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Author : Edith Decker-Phillips
language : en
Publisher: Barrytown Limited
Release Date : 1998
Paik Video written by Edith Decker-Phillips and has been published by Barrytown Limited this book supported file pdf, txt, epub, kindle and other format this book has been release on 1998 with Art categories.
Paik Video by Edith Decker-Phillips, a renowned critic of contemporary media art, is a complete and meticulously documented account of Nam June Paik's career from its beginnings in Western-style musical composition through his discovery of the revolutionary work of John Cage, to his present status as a major figure in 20th century art. Known in the '50s for his "action music," he was led by electronic music to the visual electronics of television. Besides providing extensive aesthetic and technical analyses of the whole spectrum of Paik's ouvre from the late '50s to 1984, Paik Video emphasizes the artist's work in video installations as embodying the artist's major vision and influence in contemporary art. It also includes a complete, thematically organized catalogue of Paik's installations from 1963 to 1984, over one hundred illustrations of Paik's work including eight pages in full-color, ample and informative annotations, a full bibliography, and name and subject indexes.
Video Art Theory
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Author : Helen Westgeest
language : en
Publisher: John Wiley & Sons
Release Date : 2015-06-15
Video Art Theory written by Helen Westgeest and has been published by John Wiley & Sons this book supported file pdf, txt, epub, kindle and other format this book has been release on 2015-06-15 with Social Science categories.
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author’s own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives
Present Continuous Past S
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Author : Ursula Frohne
language : en
Publisher: Springer
Release Date : 2005-10-07
Present Continuous Past S written by Ursula Frohne and has been published by Springer this book supported file pdf, txt, epub, kindle and other format this book has been release on 2005-10-07 with Art categories.
— — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — — off legitimate research interests against artists’ justi?ed claims for economic grati?cation? And how could new methods of documentation and dissemination, for example on the Internet, contribute to a more liberal access to the (so-far) closed-circuit system of established formulas for the mediation of multi-media artworks, in order to create a wider frame of reference via new visualization techniques? These questions were debated among other issues at an international symposium, held in the spring of 2004 at the University of Art in Bremen. As intentionally re?ected in the adapted title from Dan Graham’s seminal video-feedback installation »Present Continuous Past(s)«, the conference discussions crystallized around three main aspects, namely the relation of the artists’ intention to the faithful presentation and preservation of multi-media artworks for possible future re-presentations, the speci?c reception conditions that these works require as much in their gallery displays as under the conditions of post-exhibition documentation (particularly in anticipation of future presentations), and ?nally – as implicitly re?ected in all of these aspects – the philosophical dimensions of media art’s historicity. Media art’s ›becoming-of-age‹ has generally caused more concern and has led to more useful strategic initiatives within the museum context than in the academic ?eld of art history.