03612nam 2200613 450 991079228860332120221214165723.00-231-53775-110.7312/newm16951(CKB)2560000000151830(EBL)1634835(SSID)ssj0001133148(PQKBManifestationID)12523666(PQKBTitleCode)TC0001133148(PQKBWorkID)11155888(PQKB)10193785(StDuBDS)EDZ0000967907(MiAaPQ)EBC1634835(DE-B1597)458450(OCoLC)873136813(OCoLC)979745622(DE-B1597)9780231537759(Au-PeEL)EBL1634835(CaPaEBR)ebr10860866(CaONFJC)MIL608956(EXLCZ)99256000000015183020140428h20142014 uy 0engur|nu---|u||utxtccrVideo revolutions[electronic resource] on the history of a medium /Michael Z. Newman ; cover design by Jason Alejandro ; cover art by Hollis Brown ThorntonNew York ;Chichester, England :Columbia University Press,2014.©20141 online resource (159 p.)Description based upon print version of record.0-231-16951-5 Includes bibliographical references and index.Front matter --Contents --Preface --Acknowledgments --1. Three Phases --2. Video as Television --3. Video as Alternative --4. Video as the Moving Image --5. Medium and Cultural Status --Notes --Select Bibliography --IndexSince the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In this history, Michael Z. Newman casts video as a medium of shifting value and legitimacy in relation to other media and technologies, particularly film and television. Video has been imagined as more or less authentic or artistic than movies or television, as more or less democratic and participatory, as more or less capable of capturing the real. Techno-utopian rhetoric has repeatedly represented video as a revolutionary medium, promising to solve the problems of the past and the present-often the very problems associated with television and the society shaped by it-and to deliver a better future. Video has also been seen more negatively, particularly as a threat to movies and their culture. This study considers video as an object of these hopes and fears and builds an approach to thinking about the concept of the medium in terms of cultural status.Video recordingsHistoryVideo recordingsHistory.302.23/4Newman Michael Z.1152065Alejandro JasonThornton Hollis BrownMiAaPQMiAaPQMiAaPQBOOK9910792288603321Video revolutions3851832UNINA