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Zusatztext In this wonderfully eye-opening book, Jonathan Rozenkrantz seizes on the video image in cinema not just as a set of recurring narrative and visual tropes, but as a way of conceptualizing the medium of video itself. He combines sharp analysis of videographic films with theoretical insight into these two intersecting media. And he brings together some familiar and some more obscure films in a way that will both help us both to see videographic film classics in a new light, and to set an agenda for new discoveries. Informationen zum Autor Jonathan Rozenkrantz is Lecturer in the Department of Media Studies, Stockholm University, Sweden, while also working as a writer/consultant for the Swedish Film Institute.This book scans six decades of videographic cinema from the point of view of its shifting conditions of existence. Zusammenfassung In 1957, A Face in the Crowd incorporated live video images to warn about the future of broadcast TV. In 2015, Kung Fury was infused with analogue noise to evoke the nostalgic feeling of watching an old VHS tape. Between the two films, numerous ones would incorporate video images to imagine the implications of video practices. Drawing on media archaeology, Videographic Cinema shows how such images and imaginaries have emerged, changed and remained over time according to their shifting technical, historical and institutional conditions. Rediscovering forgotten films like Anti-Clock (1979) and reassessing ones like Lost Highway (1997), Jonathan Rozenkrantz charts neglected chapters of video history, including self-confrontation techniques in psychiatry, their complex relation with surveillance, and the invention/discovery of the “videographic psyche” by artists, therapists and filmmakers. Spanning six decades, Videographic Cinema discovers an epistemic shift from prospective imaginaries of surveillance and control conditioned on video as a medium for live transmission, to retrospective ones concerned with videotape as a recording memory. It ends by considering videographic filmmaking itself as a form of archaeology in the age of analogue obsolescence. Inhaltsverzeichnis Conditions1. What is Videographic Cinema?2. Archaeology How? Part 1 - Emergence 1. Futurity Effects: The Emergence of Videographic Cinema2. Canned Life: Imagining Reality TV3. Autopticon: Video Therapy and/as Surveillance Part 2 - Remanence 4. Mnemopticon: Creative Treatment of Psychic Reality5. Vilified Videophiles: Nightmares of Video's Home Invasion6. Arrière-Garde: Videographic Cinema as Media ArchaeologyConclusionsBibliographyIndex...
