Videographic cinema: an archaeology of electronic images and imaginaries
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Bloomsbury Academic
2020
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| Schriftenreihe: | Thinking|media
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | ix, 216 Seiten Illustrationen |
| ISBN: | 9781501362422 |
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Datensatz im Suchindex
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Contents Acknowledgements viii Conditions Condition 1: What is videographic cinema? Condition 2: Archaeology how? Media archaeology as the study of media conditions 3 16 17 Media archaeology as the study of media images and imaginaries Media archaeology as historiography theorized/theory historicized 21 26 Where is video/when is video? 29 Mapping and tracking videographic cinema 35 Part One Emergence 1 Futurity effects: The emergence of videographic cinema A credible reference to a possible future: Defining the futurity effect 2 41 44 Roll bars and roller skates: Challenges of capturing video on film A pioneer and his predecessor: Live television as condition 46 for videographic cinema Entering the electronic labyrinth: The video utopia estranged Flickering faces and multiplied figures: Two videographic futurity effects 49 55 Canned life: Imagining reality TV The deadly threat of live TV: A Face in the Crowd as 65 intermedia warfare Live loops and canned laughter: TV tools for demagoguery 66 and deception 58 69
Contents VI The ‘socia! experiment’ as televised spectacle: The canned life of The Model Couple Reality as infomercial: The social engineering of ideal consumers 78 82 The host as collaborator and the terrorist as clown: TV’s nihilism of neutralization’ 3 85 Canned death: Roddy’s TV-eye in Death Watch 87 Autopticon: Video therapy and/as surveillance 93 Panopticism, synopticism, autopticism: Three functions of modern surveillance The emergence of video surveillance: CCTV before 1970 95 96 Paving the way for Dr Phil: American dreams of synoptic psychiatry ‘An historical breakthrough’: Discovering the autoptic function 99 100 Interpersonal process recall: The therapist as interrogator 102 Self-acceptance - self-correction: Two poles (and a Scottish poem) 104 The psychopathology of private life: Transparency as social imperative Autopticon and on (and on): The screen is the prison of the body 106 107 Part Two Remanence 4 Mnemopticon: Creative treatment of psychic reality The emergence of the videographic psyche: The therapist as artist 113 114 Imaginary flashbacks and revelations: Video ‘dreams’ in 5 Viva la muerte From cybernetic acupuncture to Sufi meditation: The artist as therapist 121 Mnemopticon 79: Memory monitors in Anti-Clock 130 Vilified videophiles: Nightmares of video’s home invasion 137 The rise and fall of home video: From highbrow promise to ‘Boston Strangler’ 138 Long live the canned flesh: Alive on tape in Videodrome 141 128
Contents Patrick, Otis, Benny, and us: Shell children of the video revolution Treating erasure anxieties: From Family Viewing to The Fourth Kind Mnemopticon 97: Capturing nightmares of home invasion 6 vii 144 146 150 Arrière-Garde: Videographic cinema as media archaeology From culture industry to retrospectacle: The coming 155 of millennial time KungFury gets the VCR treatment: Technical failure as cinematic retrospectacle 156 Reframing the Arrière-Garde: Media archaeology as artistic method Archival ambiguities: The uses and abuses of U-matic in No Sisyphus caught on S-VHS: The existential horror of The Private Investigators Arrière-Garde as ‘postmodernism of resistance’, or fighting a lost cause 159 163 165 173 180 Conclusion: An archaeology of videographic cinema 183 Bibliography Index 189 205 |
| adam_txt |
Contents Acknowledgements viii Conditions Condition 1: What is videographic cinema? Condition 2: Archaeology how? Media archaeology as the study of media conditions 3 16 17 Media archaeology as the study of media images and imaginaries Media archaeology as historiography theorized/theory historicized 21 26 Where is video/when is video? 29 Mapping and tracking videographic cinema 35 Part One Emergence 1 Futurity effects: The emergence of videographic cinema A credible reference to a possible future: Defining the futurity effect 2 41 44 Roll bars and roller skates: Challenges of capturing video on film A pioneer and his predecessor: Live television as condition 46 for videographic cinema Entering the electronic labyrinth: The video utopia estranged Flickering faces and multiplied figures: Two videographic futurity effects 49 55 Canned life: Imagining reality TV The deadly threat of live TV: A Face in the Crowd as 65 intermedia warfare Live loops and canned laughter: TV tools for demagoguery 66 and deception 58 69
Contents VI The ‘socia! experiment’ as televised spectacle: The canned life of The Model Couple Reality as infomercial: The social engineering of ideal consumers 78 82 The host as collaborator and the terrorist as clown: TV’s nihilism of neutralization’ 3 85 Canned death: Roddy’s TV-eye in Death Watch 87 Autopticon: Video therapy and/as surveillance 93 Panopticism, synopticism, autopticism: Three functions of modern surveillance The emergence of video surveillance: CCTV before 1970 95 96 Paving the way for Dr Phil: American dreams of synoptic psychiatry ‘An historical breakthrough’: Discovering the autoptic function 99 100 Interpersonal process recall: The therapist as interrogator 102 Self-acceptance - self-correction: Two poles (and a Scottish poem) 104 The psychopathology of private life: Transparency as social imperative Autopticon and on (and on): The screen is the prison of the body 106 107 Part Two Remanence 4 Mnemopticon: Creative treatment of psychic reality The emergence of the videographic psyche: The therapist as artist 113 114 Imaginary flashbacks and revelations: Video ‘dreams’ in 5 Viva la muerte From cybernetic acupuncture to Sufi meditation: The artist as therapist 121 Mnemopticon 79: Memory monitors in Anti-Clock 130 Vilified videophiles: Nightmares of video’s home invasion 137 The rise and fall of home video: From highbrow promise to ‘Boston Strangler’ 138 Long live the canned flesh: Alive on tape in Videodrome 141 128
Contents Patrick, Otis, Benny, and us: Shell children of the video revolution Treating erasure anxieties: From Family Viewing to The Fourth Kind Mnemopticon 97: Capturing nightmares of home invasion 6 vii 144 146 150 Arrière-Garde: Videographic cinema as media archaeology From culture industry to retrospectacle: The coming 155 of millennial time KungFury gets the VCR treatment: Technical failure as cinematic retrospectacle 156 Reframing the Arrière-Garde: Media archaeology as artistic method Archival ambiguities: The uses and abuses of U-matic in No Sisyphus caught on S-VHS: The existential horror of The Private Investigators Arrière-Garde as ‘postmodernism of resistance’, or fighting a lost cause 159 163 165 173 180 Conclusion: An archaeology of videographic cinema 183 Bibliography Index 189 205 |
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| spelling | Rozenkrantz, Jonathan 19XX- Verfasser (DE-588)1223110486 aut Videographic cinema an archaeology of electronic images and imaginaries Jonathan Rozenkrantz London ; New York Bloomsbury Academic 2020 ix, 216 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Thinking|media Geschichte 1957-2015 gnd rswk-swf Videobild (DE-588)4563329-0 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Videoaufzeichnung (DE-588)4188222-2 gnd rswk-swf Film (DE-588)4017102-4 s Videoaufzeichnung (DE-588)4188222-2 s Videobild (DE-588)4563329-0 s Geschichte 1957-2015 z DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-5013-6240-8 Erscheint auch als Online-Ausgabe 978-1-50136241-5 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032360121&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Videographic cinema an archaeology of electronic images and imaginaries |
| title_auth | Videographic cinema an archaeology of electronic images and imaginaries |
| title_exact_search | Videographic cinema an archaeology of electronic images and imaginaries |
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