LEADER 03612nam 2200613 450 001 9910808700303321 005 20221214165723.0 010 $a0-231-53775-1 024 7 $a10.7312/newm16951 035 $a(CKB)2560000000151830 035 $a(EBL)1634835 035 $a(SSID)ssj0001133148 035 $a(PQKBManifestationID)12523666 035 $a(PQKBTitleCode)TC0001133148 035 $a(PQKBWorkID)11155888 035 $a(PQKB)10193785 035 $a(StDuBDS)EDZ0000967907 035 $a(MiAaPQ)EBC1634835 035 $a(DE-B1597)458450 035 $a(OCoLC)873136813 035 $a(OCoLC)979745622 035 $a(DE-B1597)9780231537759 035 $a(Au-PeEL)EBL1634835 035 $a(CaPaEBR)ebr10860866 035 $a(CaONFJC)MIL608956 035 $a(EXLCZ)992560000000151830 100 $a20140428h20142014 uy 0 101 0 $aeng 135 $aur|nu---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aVideo revolutions$b[electronic resource] $eon the history of a medium /$fMichael Z. Newman ; cover design by Jason Alejandro ; cover art by Hollis Brown Thornton 210 1$aNew York ;$aChichester, England :$cColumbia University Press,$d2014. 210 4$dİ2014 215 $a1 online resource (159 p.) 300 $aDescription based upon print version of record. 311 0 $a0-231-16951-5 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tAcknowledgments --$t1. Three Phases --$t2. Video as Television --$t3. Video as Alternative --$t4. Video as the Moving Image --$t5. Medium and Cultural Status --$tNotes --$tSelect Bibliography --$tIndex 330 $aSince 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. 606 $aVideo recordings$xHistory 615 0$aVideo recordings$xHistory. 676 $a302.23/4 700 $aNewman$b Michael Z.$01152065 702 $aAlejandro$b Jason 702 $aThornton$b Hollis Brown 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910808700303321 996 $aVideo revolutions$93944897 997 $aUNINA