04625nam 2200649 450 991046072570332120200520144314.01-118-47548-81-118-47538-0(CKB)3710000000391793(EBL)2006078(OCoLC)907694771(SSID)ssj0001460253(PQKBManifestationID)12524077(PQKBTitleCode)TC0001460253(PQKBWorkID)11465616(PQKB)11684182(MiAaPQ)EBC2006078(MiAaPQ)EBC4035678(DLC) 2015005891(Au-PeEL)EBL2006078(CaPaEBR)ebr11041418(CaONFJC)MIL769822(OCoLC)903436728(EXLCZ)99371000000039179320150416h20162016 uy 0engur|n|---|||||txtccrVideo art theory a comparative approach /Helen WestgeestChichester, England :Wiley Blackwell,2016.©20161 online resource (222 p.)Description based upon print version of record.1-118-47546-1 1-118-47544-5 Includes bibliographical references at the end of each chapters and index.""Video Art Theory""; ""Contents""; ""Acknowledgments""; ""Introduction""; ""Key characteristics of video art""; ""Problem of general characterization of video art""; ""Medium as a concept and the comparative and interdisciplinary approach of media""; ""Historiography of video art""; ""Classification and selection of video artworks""; ""Literature on video art""; ""References""; ""1 Immediacy versus Memory: Video Art in Relation to Television, Performance Art, and Home Video""; ""Gillian Wearingâ€?s Trauma (2000) Juxtaposed to Joan Jonasâ€?s Vertical Roll (1972)""""Video Art Dealing with the Constant Movements of Audio-Visual Electronic Media, and the Immediacy and Socio-Cultural Aspects of Television""""From television and audiotape to videotape: Dynamic images interwoven with sounds""; ""Socio-cultural aspects of television interrogated by video art""; ""The Appeal of Immediacy: Video in Performance Art and Performance in Video Art""; ""Video performance defined as the use of video in performances""; ""Video performance defined as substitute for a live event""; ""Video as documentation of performances""""The Application of the Mnemonic Ability of Video and the Relationship with Activist-Videos and Home Video""""Video as social documentation and recording tool in activism""; ""Video art and collective memory""; ""Home video as mnemonic device""; ""Notes""; ""References""; ""2 Immateriality versus Three-Dimensionality: Video Art as Sculpture, Installation Art, Projection, and Virtual Medium""; ""Lynn Hershmanâ€?s Tillie the Telerobotic Doll (1995) Juxtaposed to Andy Warholâ€?s Outer and Inner Space (1965)""; ""Television as an Object: Sculpture or Part of Architecture""""Theory of boredom""""Video Art and Drawing""; ""Video Art and Painting""; ""Color in video art and the relationship between painting and avant-garde films""; ""Notes""; ""References""; ""4 Repetition and Fragmentation in Narrative: Videoâ€?s Appropriation and Subversion of Classical Cinema""; ""Candice Breitzâ€?s Mother + Father (2005) Juxtaposed to Rodney Grahamâ€?s Vexation Island (1997) and Keren Cytterâ€?s Corrections (2013)""; ""Aspects of Narrative in Video Art Reacting to Hollywood Films, and Views on Compulsive Repetition""; ""Theories on narrative applied to the three key works""""Compulsive repetition""Helen Westgeest is Assistant Professor of Modern and Contemporary Art History at Leiden University, the Netherlands. Her most recent publication is Photography Theory in Historical Perspective: Case Studies from Contemporary Art (co-authored with Hilde Van Gelder, Wiley-Blackwell, 2011). Westgeest is also editor and a contributor of Take Place: Photography and Place from Multiple Perspectives (2009) and joint editor of Photography between Poetry and Politics (with Hilde Van Gelder, 2008).Video artElectronic books.Video art.777Westgeest Helen1958-974493MiAaPQMiAaPQMiAaPQBOOK9910460725703321Video art theory2218627UNINA