{"product_id":"video-theories-9781501354090","title":"Video Theories","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eBreaking new ground as the first transdisciplinary reader in this field, \u003ci\u003eVideo \u003c\/i\u003e\u003ci\u003eTheories \u003c\/i\u003eis a resource that will form the basis for further research and teaching. While theories of video have not yet formed an academic discipline comparable to the more canonized theories of photography, film, and television, the reader offers a major step toward bridging this video gap in media theory, which is remarkable considering today's omnipresence of the medium through online video portals and social media.Consisting of a selection of eighty-three annotated source texts and twelve chapter introductions written by the editors, this book considers fifty years of scholarly and artistic reflections on the topic, representing an intergenerational and international set of voices. This transdisciplinary reader offers a conceptual framework for diverging and contradictory viewpoints, following the continuous transformations of what video was, is, and will be.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eThe book by Daniels and Thoben is a game-changer both for Media Studies and for Art History, making available an important body of texts which have so far been either unknown, or inaccessible. The editors' knowledgeable selection and their intellectually rich proposal for ordering the historical discourses about the medium of video should raise objections and debate, but what will prevail is the phenomenal achievement of this publication that makes such debate possible in the first place. An essential source for anybody interested in visual media. * Andreas Broeckmann, Art Historian, Leuphana University, Germany *\u003cbr\u003eThis book is a long overdue must-read primer for anyone thinking about and teaching the many meanings and epistemes of video. Read this book and you will find a compellingly structured overview of video theories and histories covering a wide range of discursive fields. * Hanna B. Hölling, Associate Professor, University College London, UK and Research Professor, Bern University of the Arts, Switzerland *\u003cbr\u003eThis exiting and much-needed volume brings together an impressive array of voices on video. Its interdisciplinary, transhistorical, and intercultural scope offers a comprehensive, in-depth understanding of the discursive field of video theories–a field that is as multifaceted and everchanging as the medium of video itself. The most laudable accomplishment of the book is that it celebrates the “hydra-headedness” of video without falling prey to it: the volume doesn’t lose sight of the main (t)h(r)eads of the medium, nor does it attempt to silence any perspectives on video at the benefit of a singular canonical viewpoint. Instead, by structuring the volume around themes and by providing insightful introductions to each chapter, the volume manages to interconnect not only a multitude of heterogenous video theories, but also to critically relate artistic practices to written reflections, as well as the past, present and future of video. * Janna Houwen, Assistant Professor in the Department of Film and Literary Studies, Leiden University, the Netherlands and author of Film and Video Intermediality: The Question of Medium Specificity in Contemporary Moving Images (2017) *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eAcknowledgments\u003c\/i\u003e  \u003ci\u003ePreface\u003c\/i\u003e \u003ci\u003eDieter Daniels and Jan Thoben\u003c\/i\u003e   \u003cb\u003eI Foundations\u003c\/b\u003e   \u003cb\u003e1 Formations | Exemplary Discourses\u003c\/b\u003e Introduction  \u003ci\u003eDieter Daniels\u003c\/i\u003e   Draft for Gutenberg Video (1960). Facsimile \u003ci\u003eMarshall McLuhan\u003c\/i\u003e   Biennale Seminar on Video, Venice 1977 \u003ci\u003eMarshall McLuhan\u003c\/i\u003e   Videotape: Thinking about a Medium (1968) \u003ci\u003ePaul Ryan\u003c\/i\u003e   Gestures on Videotapes (1973) \u003ci\u003eVilém Flusser\u003c\/i\u003e   Video (1973–1974) \u003ci\u003eVilém Flusser\u003c\/i\u003e   \u003cb\u003e2 Medium Specificity and Hybridity: The Materiality of the Electronic Image\u003c\/b\u003e Introduction \u003ci\u003eJan Thoben\u003c\/i\u003e   Video: From Technology to Medium (2006) \u003ci\u003eYvonne Spielmann\u003c\/i\u003e   Surrealism without the Unconscious (1991) \u003ci\u003eFredric Jameson\u003c\/i\u003e   Between-the-Images (1990) \u003ci\u003eRaymond Bellour \u003c\/i\u003e  Video as Dispositif (1988) \u003ci\u003eAnne-Marie Duguet\u003c\/i\u003e   Video Media (1993) \u003ci\u003eSean Cubitt\u003c\/i\u003e   Is There a Specific Videocity? (2002) \u003ci\u003eWolfgang Ernst \u003c\/i\u003e  Video Intimus (2010) \u003ci\u003eSiegfried Zielinski\u003c\/i\u003e   Toward an Autobiography of Video (2016) \u003ci\u003eIna Blom\u003c\/i\u003e   Video, Flows, and Real Time (1996) \u003ci\u003eMaurizio Lazzarato\u003c\/i\u003e   \u003cb\u003e3 Video and the Self: Closed Circuit | Feedback | Narcissism\u003c\/b\u003e Introduction  \u003ci\u003ePeter Sachs Collopy (guest editor)\u003c\/i\u003e   Some Aspects of the Significance to Psychoanalysis of the Exposure of a Patient to the Televised Audiovisual Reproduction of His Activities (1969) \u003ci\u003eLawrence S. Kubie\u003c\/i\u003e   Self-Processing (1970) \u003ci\u003ePaul Ryan\u003c\/i\u003e   Two Consciousness Projection(s) (1972) \u003ci\u003eDan Graham\u003c\/i\u003e   Essay on Video, Architecture, and Television (1979) \u003ci\u003eDan Graham\u003c\/i\u003e   Video: The Aesthetics of Narcissism (1976) \u003ci\u003eRosalind Krauss\u003c\/i\u003e   Video Art, the Imaginary and the \u003ci\u003eParole Vide\u003c\/i\u003e (1976) \u003ci\u003eStuart Marshall\u003c\/i\u003e    Vital Statistics of a Citizen, Simply Obtained (1977) \u003ci\u003eMartha Rosler\u003c\/i\u003e  Narcissism, Feminism, and Video Art: Some Solutions to a Problem in Representation (1981) \u003ci\u003eMicki McGee\u003c\/i\u003e   Discover European Video: For a Catalogue of an Exhibition (1990) \u003ci\u003eVilém Flusser\u003c\/i\u003e   Prismatic Media, Transnational Circuits (2012) \u003ci\u003eKrista Geneviève Lynes\u003c\/i\u003e   Screen Births: Trans Vlogs as a Transformative Media for Self-Representation (2016) \u003ci\u003eTobias Raun\u003c\/i\u003e     \u003cb\u003eII Relations\u003c\/b\u003e   \u003cb\u003e4 Video | Film \u003c\/b\u003e Introduction \u003ci\u003eMarc Ries\u003c\/i\u003e   Filmgoing\/Videogoing: Making Distinctions (1973) \u003ci\u003eDouglas Davis\u003c\/i\u003e   Video in the Work of Jean-Luc Godard: Interviews and Statements (1969–2001) \u003ci\u003eJean-Luc Godard (compiled and introduced by Thomas Helbig) \u003c\/i\u003e   The Withering Away of the State of the Art (1977) \u003ci\u003eHollis Frampton\u003c\/i\u003e   Video and Film (1987)  \u003ci\u003eGábor Bódy\u003c\/i\u003e   On Video (1988) \u003ci\u003eRoy Armes \u003c\/i\u003e  Video: The Access Medium (1996)  \u003ci\u003eTetsuo Kogawa\u003c\/i\u003e   Interface (1995) \u003ci\u003eHarun Farocki\u003c\/i\u003e   Penultimate Pictures (2018) \u003ci\u003eMarc Ries\u003c\/i\u003e   \u003cb\u003e5 Video | Television\u003c\/b\u003e Introduction \u003ci\u003eDieter Daniels\u003c\/i\u003e   The Politics of Timeshifting (2011)  \u003ci\u003eDylan Mulvin\u003c\/i\u003e   Global Groove and Video Common Market (1970)  \u003ci\u003eNam June Paik\u003c\/i\u003e   Television: Video’s Frightful Parent (1975)  \u003ci\u003eDavid Antin\u003c\/i\u003e   Talking Back to the Media (1985) \u003ci\u003eDara Birnbaum\u003c\/i\u003e   [Portable Video] (1995) \u003ci\u003eJohn Thornton Caldwell\u003c\/i\u003e   [The Videographic] (2002)  \u003ci\u003eJohn Ellis\u003c\/i\u003e   \u003cb\u003e6 Video | Sound and Synthesis\u003c\/b\u003e Introduction \u003ci\u003eJan Thoben\u003c\/i\u003e   The Sound of One Line Scanning (1986\/1990)  \u003ci\u003eBill Viola\u003c\/i\u003e   AFTERLUDE to the Exposition of EXPERIMENTAL TELEVISION (1964). Facsimile \u003ci\u003eNam June Paik\u003c\/i\u003e   Versatile Color TV Synthesizer (1969) \u003ci\u003eNam June Paik \u003c\/i\u003e  Video-Synthesizer (1969). Facsimile \u003ci\u003eNam June Paik\u003c\/i\u003e   Soundings (1979) \u003ci\u003eGary Hill \u003c\/i\u003e  Light and Darkness in the Electronic Landscape (1978)  \u003ci\u003eBarbara Buckner\u003c\/i\u003e   \u003cb\u003e7 Video | Performance and Theater\u003c\/b\u003e Introduction \u003ci\u003eBarbara Büscher (guest editor)\u003c\/i\u003e   Transmission (1998) \u003ci\u003eJoan Jonas\u003c\/i\u003e   Moving Target: General Intentions (1996) \u003ci\u003eDiller + Scofidio\u003c\/i\u003e   Studio Azzurro: Re-Inventing the Medium of Theater (2012) \u003ci\u003eValentina Valentini\u003c\/i\u003e   Intermedial Interplay between Real-time Videos, Film, and Theatrical Scenes: Bert Neumann’s Spaces for Frank Castorf’s Dostoevsky project \u003ci\u003eErniedrigte und Beleidigte\u003c\/i\u003e (2014) \u003ci\u003eBirgit Wiens\u003c\/i\u003e   Multiplication. The Wooster Group (2007) \u003ci\u003eNick Kaye\u003c\/i\u003e   \u003cb\u003e8 Video | Internet: Online Video and the Consumer as Producer\u003c\/b\u003e Introduction \u003ci\u003eMartha Buskirk (guest editor) \u003c\/i\u003e   Do It 2 (2009) \u003ci\u003eCory Arcangel and Dara Birnbaum\u003c\/i\u003e   In Defense of the Poor Image (2009)  \u003ci\u003eHito Steyerl \u003c\/i\u003e  Shiny Things So Bright (2017) \u003ci\u003eAndreas Treske\u003c\/i\u003e   YouTube and the Syrian Revolution: On the Impact of Video Recording on Social Protests (2017) \u003ci\u003eCécile Boëx\u003c\/i\u003e   Nothing Is Unwatchable for All (2019) \u003ci\u003eAlexandra Juhasz\u003c\/i\u003e   The Dangers of Ubiquitous Video (2020) \u003ci\u003eSiva Vaidhyanathan\u003c\/i\u003e     \u003cb\u003eIII Repercussions\u003c\/b\u003e   \u003cb\u003e9 Sociality | Participation | Utopias\u003c\/b\u003e Introduction  \u003ci\u003eDieter Daniels\u003c\/i\u003e   Videotopia (1972) \u003ci\u003eAlfred Willener, Guy Milliard, Alex Ganty\u003c\/i\u003e   Guerrilla Television (1971) \u003ci\u003eMichael Shamberg\u003c\/i\u003e   Subject to Change: Guerrilla Television Revisited (1985) \u003ci\u003eDeirdre Boyle\u003c\/i\u003e   Women’s Video (1981) \u003ci\u003eAnne-Marie Duguet\u003c\/i\u003e   \u003cb\u003e10 Communities | Amateurism | Ethnographies | Participation\u003c\/b\u003e Introduction \u003ci\u003eDieter Daniels\u003c\/i\u003e   [Wedding Videos] (1993) \u003ci\u003eSean Cubitt\u003c\/i\u003e   [Bootlegging Video] (2009)  \u003ci\u003eLucas Hilderbrand\u003c\/i\u003e   [Splatter Videos, Scene Selection, and the Video Store] (2014) \u003ci\u003eTobias Haupts\u003c\/i\u003e   Degraded Images, Distorted Sounds: Nigerian Video and the Infrastructure of Piracy (2004) \u003ci\u003eBrian Larkin\u003c\/i\u003e   The Other Within (1989) \u003ci\u003eJuan Downey\u003c\/i\u003e   Defiant Images: The Kayapo Appropriation of Video (1992) \u003ci\u003eTerence Turner \u003c\/i\u003e  Decolonizing the Technologies of Knowledge: Video and Indigenous Epistemology (2003) \u003ci\u003eFreya Schiwy\u003c\/i\u003e   \u003cb\u003e11 Surveillance | Exposure | Testimony | Forensics \u003c\/b\u003e Introduction \u003ci\u003eDieter Daniels\u003c\/i\u003e   Photographesomenon: Video Surveillance as a Paradoxical Image-Making Machine (2005) \u003ci\u003eWinfried Pauleit\u003c\/i\u003e   CCTV. The Stealthy Emergence of a Fifth Utility? (2002) \u003ci\u003eStephen Graham\u003c\/i\u003e   The Cultural Labor of Surveillance. Video Forensics, Computational Objectivity, and the Production of Visual Evidence (2013) \u003ci\u003eKelly Gates\u003c\/i\u003e   Drone Warfare at the Threshold of Detectability (2015) \u003ci\u003eEyal Weizman\u003c\/i\u003e   Webcams, or Democratizing Publicity (2006) \u003ci\u003eWendy Hui Kyong Chun\u003c\/i\u003e   “The Woman in the Blue Bra”: Follow the Video (2015\/2017) \u003ci\u003eKathrin Peters\u003c\/i\u003e     \u003cb\u003eIV Dialogues \u003c\/b\u003e   \u003cb\u003e12 Artistic Practice and Video Theory \u003c\/b\u003e Introduction  \u003ci\u003eDieter Daniels and Jan Thoben\u003c\/i\u003e   Video 1965: Andy Warhol and Nam June Paik. A Specific Moment of Unspecificity (2018\/2021) \u003ci\u003eDieter Daniels\u003c\/i\u003e   Pop Goes the Videotape (1965) \u003ci\u003eAndy Warhol \u003c\/i\u003e  Electronic Video Recorder (1965). Facsimile \u003ci\u003eNam June Paik\u003c\/i\u003e   Before the Cinematic Turn: Video Projection in the 1970s (2015) \u003ci\u003eErika Balsom\u003c\/i\u003e   Video as a Function of Reality (1974)  \u003ci\u003ePeter Campus\u003c\/i\u003e   Videor (1990) \u003ci\u003eJacques Derrida\u003c\/i\u003e   [Processual Video] (1980) \u003ci\u003eGary Hill\u003c\/i\u003e   Compulsive Categorizations: Gender and Heritage in Video Art (2015)  \u003ci\u003eMalin Hedlin Hayden\u003c\/i\u003e   Video as a Medium of Emancipation (1982)  \u003ci\u003eUlrike Rosenbach \u003c\/i\u003e  Video in the Time of a Double, Political and Technological, Transition in the Former Eastern European Context (2009\/2020) \u003ci\u003eMarina Gržinic\u003c\/i\u003e   [Video Direction Theory] (1989) \u003ci\u003eBoris Yukhananov (edited and annotated by Andreas Schmiedecker)\u003c\/i\u003e   \u003ci\u003eIndex\u003c\/i\u003e","brand":"Bloomsbury Publishing Plc","offers":[{"title":"Default Title","offer_id":51019958387031,"sku":"9781501354090","price":90.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9781501354090.jpg?v=1750781882","url":"https:\/\/bookcurl.com\/products\/video-theories-9781501354090","provider":"Book Curl","version":"1.0","type":"link"}