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Books on the topic '1970s video art'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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1

Barbara, Fischer. Love gasoline: An exhibition of the body in sculpture, performance, video, and photo-based works of the later 1960s and early 1970s. Mercer Union, 2001.

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2

missing], [name. The magnetic era: Video art in the Netherlands 1970-1985. NAi Publishers, 2001.

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3

Paul, McCarthy. Paul McCarthy: Videos 1970-1997. Kunstverein in Hamburg, 2003.

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4

Wulf, Herzogenrath, Nierhoff Barbara, and Kunsthalle Bremen, eds. Peter Campus: Analog & digital video & foto 1970-2003. Kunsthalle Bremen, 2003.

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5

Ann-Sargent, Wooster, and Independent Curators Incorporated, eds. The first generation: Women and video, 1970-75. Independent Curators Inc., 1993.

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6

Palacio, Manuel. La imagen sublime: Vídeo de creación en España (1970-1987). Centro de Arte Reina Sofía, 1987.

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7

Zwischen Body Art und Videokunst: Körper und Video in der Aktionskunst um 1970. S. Schreiber, 2001.

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8

R, Riley Robert, Storr Robert, Wagner Anne Middleton 1949-, and Nauman Bruce 1941-, eds. A rose has no teeth: Bruce Nauman in the 1960s. University of California Press, 2007.

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9

" Dies alles Herzchen wird einmal Dir gehören": Die Fernsehgalerie Gerry Schum 1968-1970 und die Produktionen der 'videogalerie schum' 1970-1973. P. Lang, 1996.

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10

Hollywood's detectives: Crime series in the 1930s and 1940s from the whodunnit to hard-boiled noir. Palgrave Macmillan, 2012.

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11

1941-, Nauman Bruce, Acconci Vito 1940-, and Jonas Joan 1936-, eds. "Sexy lies in videotapes": Künstlerische Selbstinszenierung im Video um 1970 bei Bruce Nauman, Vito Acconci, Joan Jonas. Mann, 2003.

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12

Cassel, Oliver Valerie, Contemporary Arts Museum, and Spelman College. Museum of Fine Art., eds. Cinema remixed & reloaded: Black women artists and the moving image since 1970. Contemporary Arts Museum, 2008.

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13

Cinema of simulation: Hyperreal Hollywood in the long 1990s. Bloomsbury Academic, an imprint of Bloomsbury Publishing, Inc., 2015.

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14

Fitzgerald, Michael G. Ladies of the western: Interviews with 25 actresses from the Silent Era to the television westerns of the 1950s and 1960s. McFarland, 2008.

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15

1940-, Magers Boyd, ed. Ladies of the western: Interviews with fifty-one more actresses from the silent era to the television westerns of the 1950s and 1960s. McFarland, 2001.

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16

Gendai eizō geijutsuron: Eizō sakka katsudō no shisōteki haikei, 1970-nen-200-nen. Shuppan Bunka Kenkyūkai, 2007.

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17

The Great War in popular British cinema of the 1920s: Before journey's end. Palgrave Macmillan, 2015.

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18

Richard Serra: Neuere Skulpturen in Europa 1977-1985, eine Auswahl = recent sculpture in Europe 1977-1985, selected : M Bochum, Galerie für Film, Foto, Neue Konkrete Kunst und Video. Die Galerie, 1985.

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19

It came from the 1950s!: Popular culture, popular anxieties. Palgrave Macmillan, 2011.

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20

Robert, Violette, ed. Reasons for knocking at an empty house: Writings 1973-1994. Thames and Hudson, 1995.

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21

Robert, Violette, ed. Reasons for knocking at an empty house: Writings 1973-1994. MIT Press, 1995.

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22

Benjamin, Seel Peter, ed. High-definition television: A global perspective. Iowa State University Press, 1998.

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23

Rewind: British Artists' Video in the 1970s And 1980s. Indiana University Press, 2012.

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24

From Open Reel To Multichannel Reconstructing Swiss Video Art From The 1970s And 1980s. Jrp Ringier, 2010.

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25

Matthias, Michalka, and Museum Moderner Kunst (Austria), eds. X-screen: Film installations and actions in the 1960s and 1970s. König, 2004.

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26

Matthias, Michalka, and Museum Moderner Kunst (Austria), eds. X-screen: Film installations and actions in the 1960s and 1970s. Walther König, 2004.

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27

Frieling, Rudolf, Sybille Weber, and Dieter Daniels. Medien Kunst Aktion/media Art Action: Die 60er Und 70er In Deutschland / The 1960s And 1970s In Germany. Springer, 2003.

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28

(Introduction), Dara Myers-Kingsley, ed. Reel Works: Artists Film and Video of the 1970s. Museum of Contemporary Art Miami, 1997.

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29

Aguer, Montse, and Felix Fanes. Reel Works: Artists Film and Video of the 1970s. Museum of Contemporary Art, Miami, 1996.

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30

Hodge, Thomas, and Justin Ishmael. VHS : Video Cover Art: 1980s to Early 1990s. Schiffer Publishing, Limited, 2015.

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31

Rudolf, Frieling, Daniels Dieter, Goethe-Institut (Munich Germany), and Zentrum für Kunst und Medientechnologie Karlsruhe., eds. Medien Kunst Interaktion.: Media art interaction. The 1980s and 1990s in Germany. Springer, 2000.

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32

Lopez, Sebastian, Rob Perree, Ruth Bellinkx, et al. The Magnetic Era: Video Art in the Netherlands 1970-1985. NAi Publishers, 2003.

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33

McCarthy, Paul, Kathrin Sauerlander, and Johann Lothar Schroder. Paul Mccarthy: Videos 1970-1997. Walther Konig, 2004.

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34

Ontario, Art Gallery of, ed. Beyond borders: Hungarian video art from the late 1980s. Art Gallery of Ontario, 1991.

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35

Dara, Meyers-Kingsley, Chang Chris, and Museum of Contemporary Art (North Miami, Fla.), eds. Reel work: Artists' film and video of the 1970's. Museum of Contemporary Art, 1996.

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36

Steve, Dietz, ed. Steina, 1970-2000. SITE Santa Fe, 2008.

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37

Gibbons, William. Unlimited Replays. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190265250.001.0001.

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This book explores the intersections of values and meanings in two types of replay: where video games meet classical music, and vice versa. From the bleeps and bloops of 1980s arcades to the world’s most prestigious concert halls, classical music and video games have a long history together. Medieval chant, classical symphonies, postminimalist film scores, and everything in between fill the soundtracks of many video games, while world-renowned orchestras frequently perform concerts of game music to sold-out audiences. Yet combining video games and classical music also presents a challenge to traditional cultural values around these media products. Classical music is frequently understood as high art, insulated from the whims of popular culture; video games, by contrast, are often regarded as pure entertainment, fundamentally incapable of crossing over into art. By delving into the shifting and often contradictory cultural meanings that emerge when classical music meets video games, Unlimited Replays offers a new perspective on the possibilities and challenges of art in contemporary society.
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38

Atwood, Blake. Reform Cinema in Iran. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231178174.001.0001.

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It’s nearly impossible to separate contemporary Iranian cinema from the Islamic revolution that transformed film production in the country in the late 1970s. As the aims of the revolution shifted and hardened once Khomeini took power and as an eight-year war with Iraq dragged on, Iranian filmmakers confronted new restrictions. In the 1990s, however, the Reformist Movement, led by Mohammad Khatami, and the film industry, developed an unlikely partnership that moved audiences away from revolutionary ideas and toward a discourse of reform. In Reform Cinema in Iran, Blake Atwood examines how new industrial and aesthetic practices created a distinct cultural and political style in Iranian film between 1989 and 2007. Atwood analyzes a range of popular, art, and documentary films. He provides new readings of internationally recognized films such as Abbas Kiarostami’s Taste of Cherry (1997) and Mohsen Makhmalbaf’s Time for Love (1990), as well as those by Rakhshan Bani, Masud Kiami, and other key Iranian directors. At the same time, he also considers how filmmakers and the film industry were affected by larger political and religious trends that took shape during Mohammad Khatami’s presidency (1997-2005). Atwood analyzes political speeches, religious sermons, and newspaper editorials and pays close attention to technological developments, particularly the rise of video, to determine their role in democratizing filmmaking and realizing the goals of political reform. He concludes with a look at the legacy of reform cinema, including films produced under Mahmoud Ahmadinejad, whose neoconservative discourse rejected the policies of reform that preceded him.
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39

Naremore, James. Film Noir: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198791744.001.0001.

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Film noir is usually associated with a series of darkly seductive Hollywood thrillers from the 1940s and 1950s—shadowy, black-and-white pictures about private eyes, femme fatales, outlaw lovers, criminal heists, corrupt police, and doomed or endangered outsiders. But Film Noir: A Very Short Introduction demonstrates that the genre has much earlier origins and is more international in scope. The key themes and styles of film noir are discussed along with some of the most iconic film noirs, exploring important aspects of their history and ongoing influence: their critical reception, major literary sources, methods of dealing with censorship and budgets, social and cultural politics, variety of styles, and future in a world of digital media and video streaming.
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40

Chanan, Michael. Video Speech in Latin America. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.037.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. In rehearsing the history of video in Latin America, this chapter focuses on the social rather than the individual, on video as a collective medium where audio and visual are placed in a new relationship of equal simultaneity, and thus where video functions more as a form of collective speech than individual expression. In the Latin American experience, which built on the radical film movement of the preceding decades, community activists became aficionados of video, often under the most inimical circumstances, but by exploiting video’s potential for alternative, small scale, low profile, subcultural uses. Using examples from Chile in the 1980s, indigenous video in countries like Brazil and Bolivia, and the movement of video activism in Argentina in the early 2000s known ascine piquetero, the chapter sketches a concept of video speech as a form of audiovisual utterance answering to the socialized conditions of its production, in a dialogical relationship with its audience.
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41

Sandvig, Christian. The Internet as the Anti-Television. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039362.003.0010.

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This chapter examines the architecture used to distribute video over the Internet. The unprecedented volume of online video that now circulates suggests that this distribution had “enabled a radical approach” by generating forms of labor and content that traditional media industries have never seen before. Embedded in this transformation were competing ideas about what content and which audiences are valuable, and indeed how culture itself ought to work. The chapter then explores how computer pioneers thought about television in the 1960s and charts a path to more recent practices of caching, streaming, and multicasting. Ultimately, the case of Internet video distribution reveals how crucial the study of infrastructure is to understanding the shape, form, and function of media technologies.
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42

Turim, Maureen, and Michael Walsh. Sound Events. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0026.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter is a comprehensive survey of sound practices in avant-garde film, video art, and installation art since the 1960s. It addresses a series of artistic approaches to sound: silence, tone and drone, antic and aleatory, multilayering and cacophony, work with voices, legacies of cinematic exhibition, and resonant spaces in galleries and museums. It is broadly chronological, beginning with major figures of the 1960s and ending with artists currently working. The chapter does not deny medium specificity, but moves easily among celluloid film, video formats, and gallery installation. Theoretical perspectives derive from the debate between Deleuze and Badiou on the nature and frequency of “the event,” a restaging of the discussion on the value of experiment and innovation. The chapter is wide-ranging enough to be synoptic, but also provides detailed discussion of works by Larry Gottheim, Abigail Child, Andy Warhol, Christian Marclay, Janet Cardiff, and Bruce High Quality Foundation.
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43

A History of 1970s Experimental Film: Britain's Decade of Diversity. Palgrave Macmillan, 2015.

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44

Andy Warhol: Private Drawings from the 1950s. Verlag Der Buchhandlung Walther Kvnig, 2003.

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45

Magers, Boyd, and Michael G. Fitzgerald. Ladies of the Western: Interviews With Fifty-One More Actresses from the Silent Era to the Television Westerns of the 1950s and the 1960s. McFarland & Company, 2002.

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46

Walley, Jonathan. Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.001.0001.

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Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.
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47

Murnaghan, Sheila, and Deborah H. Roberts. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199583478.003.0009.

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The preceding work is summed up as a study of adults’ attempts over a century-long period to make sense of their own childhood experiences of antiquity and to recreate those experiences for new generations through the medium of absorbing pleasure reading. Such experiences are valued for their capacity to stimulate the imagination, to expand moral understanding, to pave the way for further education, and to bring renewal or redemption to the disturbed modern world. The chapter ends with a brief survey of developments in classical mythology and historical fiction for children and young adults from the mid-1960s until the present, including the emergence of new forms of fantasy literature and the role of new media such as video games and fan fiction.
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48

Hollings, Ken. Welcome to Mars: Politics, Pop Culture, and Weird Science in 1950s America. North Atlantic Books, 2014.

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49

1940-, Leopoldseder Hannes, Schöpf Christine, and Stocker Gerfried, eds. Ars Electronica, 1979-2004: The network for art, technology and society : the first 25 years = 25 Jahre Netzwerk für Kunst, Technologie und Gesellschaft. Hatje Cantz, 2004.

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50

Sakane, Itsuo, Wolfgang Lehner, Scott Ritter, et al. Ars Electronica 1979-2004. Hatje Cantz Publishers, 2005.

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