By Michael Z. Newman

ISBN-10: 0231537751

ISBN-13: 9780231537759

Because the days of early tv, video has been an crucial a part of tradition, society, and moving-image media industries. Over the many years, it's been an avant-garde inventive medium, a high-tech customer equipment, a structure for observing video clips at domestic, a strength for democracy, and the final word, ubiquitous technique of documenting fact. within the twenty-first century, video is the identify we supply all types of relocating photos. we all know it as an adaptable medium that bridges analog and electronic, beginner undefined, broadcasting and recording, tv and cinema, artwork and advertisement tradition, and previous media and new electronic networks.

In this heritage, Michael Z. Newman casts video as a medium of moving worth and legitimacy when it comes to different media and applied sciences, relatively movie and tv. Video has been imagined as kind of actual or creative than videos or tv, as kind of democratic and participatory, as kind of able to shooting the genuine. Techno-utopian rhetoric has many times represented video as a progressive medium, promising to unravel the issues of the earlier and the current — usually the very difficulties linked to tv and the society formed via it — and to carry a greater destiny. Video has additionally been obvious extra negatively, really as a possibility to videos and their tradition. This learn considers video as an item of those hopes and fears and builds an method of brooding about the idea that of the medium when it comes to cultural prestige.

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This marked a 180-degree turn from the years in which RCA’s David Sarnoff touted video as television—in contrast to cinema’s illegitimate mass culture identity—as the great new art form of the twentieth century. 27 In this mode of utopian fantasy, television’s unfulfilled promise would finally be realized by video as a recording (not transmitting/receiving) medium. Television’s viewer, long held captive by the networks, would be free to exercise choice and to be entertained or edified at his or her convenience.

65 It also apparently renewed interest in movies. Rather than siphoning from the theatrical box office, the VCR prompted new synergies between home video and theatrical exhibition. The sequel Indiana Jones and the Temple of Doom (1984) was helped in its theatrical run by the popularity of Raiders of the Lost Ark (1981), the earlier film in the series, on videocassette and vice versa. 67 As the VCR became a standard component in ensembles of consumer electronics, video’s meanings adjusted to the medium’s newfound uses.

This marked a 180-degree turn from the years in which RCA’s David Sarnoff touted video as television—in contrast to cinema’s illegitimate mass culture identity—as the great new art form of the twentieth century. 27 In this mode of utopian fantasy, television’s unfulfilled promise would finally be realized by video as a recording (not transmitting/receiving) medium. Television’s viewer, long held captive by the networks, would be free to exercise choice and to be entertained or edified at his or her convenience.

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Video Revolutions: On the History of a Medium by Michael Z. Newman


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