LEADER 03990nam 2200697 450 001 9910792796403321 005 20200520144314.0 010 $a0-231-17692-9 024 7 $a10.7312/bals17692 035 $a(CKB)3710000001053688 035 $a(MiAaPQ)EBC5275996 035 $a(StDuBDS)EDZ0001675169 035 $a(DE-B1597)480283 035 $a(OCoLC)980849485 035 $a(OCoLC)984688376 035 $a(DE-B1597)9780231543125 035 $a(MiAaPQ)EBC5267929 035 $a(Au-PeEL)EBL5275996 035 $a(CaPaEBR)ebr11529489 035 $a(Au-PeEL)EBL5267929 035 $a(CaONFJC)MIL993041 035 $a(OCoLC)1024286064 035 $a(EXLCZ)993710000001053688 100 $a20180404h20172017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aAfter uniqueness $ea history of film and video art in circulation /$fErika Balsom 210 1$aNew York :$cColumbia University Press,$d2017. 210 4$dİ2017 215 $a1 online resource (313 pages) 225 0 $aFilm and Culture Series 300 $aPreviously issued in print: 2017. 311 $a0-231-17693-7 311 $a0-231-54312-3 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction: Copy Rites -- $t1. The Promise and Threat of Reproducibility -- $t2. 8 mm and the "Blessings of Books and Records" -- $t3. Bootlegging Experimental Film -- $t4. Copyright and the Commons -- $t5. The Limited Edition -- $t6. The Event of Projection -- $t7. A Cinematic Bayreuth -- $t8. Transmission, from the Movie-Drome to Vdrome -- $tNotes -- $tBibliography -- $tIndex 330 $aImages have never been as freely circulated as they are today. They have also never been so tightly controlled. As with the birth of photography, digital reproduction has created new possibilities for the duplication and consumption of images, offering greater dissemination and access. But digital reproduction has also stoked new anxieties concerning authenticity and ownership. From this contemporary vantage point, After Uniqueness traces the ambivalence of reproducibility through the intersecting histories of experimental cinema and the moving image in art, examining how artists, filmmakers, and theorists have found in the copy a utopian promise or a dangerous inauthenticity-or both at once.From the sale of film in limited editions on the art market to the downloading of bootlegs, from the singularity of live cinema to video art broadcast on television, Erika Balsom investigates how the reproducibility of the moving image has been embraced, rejected, and negotiated by major figures including Stan Brakhage, Leo Castelli, and Gregory Markopoulos. Through a comparative analysis of selected distribution models and key case studies, she demonstrates how the question of image circulation is central to the history of film and video art. After Uniqueness shows that distribution channels are more than neutral pathways; they determine how we encounter, interpret, and write the history of the moving image as an art form. 410 0$aFilm and culture. 410 0$aColumbia scholarship online. 606 $aMotion picture audiences$xHistory 606 $aVideo art$xHistory 606 $aMotion pictures and the arts 606 $aArt and motion pictures 606 $aMotion picture industry$xTechnological innovations 615 0$aMotion picture audiences$xHistory. 615 0$aVideo art$xHistory. 615 0$aMotion pictures and the arts. 615 0$aArt and motion pictures. 615 0$aMotion picture industry$xTechnological innovations. 676 $a302.2343 700 $aBalsom$b Erika$0772873 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910792796403321 996 $aAfter uniqueness$93812032 997 $aUNINA