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035   $a(PQKBTitleCode)TC0000258409
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100   $a20130418d2002||||  u||            |
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aThere's No Place Like Home Video$b[electronic resource]
210   $aMinneapolis $cUniversity of Minnesota Press$d2002
215   $a1 online resource (252 p.)
225 1 $aVisible Evidence
300   $aDescription based upon print version of record.
311   $a0-8166-3800-4 
327   $aContents; Acknowledgments; Introduction: Medium Theory, Home Video, and Other Specifications; 1 What Is Video? Mapping Out Models of Medium Specificity; 2 From Reel Families to Families We Choose: Video in the Home Mode; 3 Modes of Distinction: The Home Mode, the Avant-Garde, and Event Videography; 4 Family Resemblances: The Home Mode as Chronotope; 5 The Video-in-the-Text: A Phenomenology and Narratology of Hybrid Spectatorship; Notes; Index
330   $aIn There's No Place Like Home Video, James Moran offers a history of amateur home video, exploring its technological and ideological predecessors, the development of event videography, and home video's symbiotic relationship with television and film. He also investigates the broader field of video, taking on the question of medium specificity: the attempt to define its unique identity, to capture what constitutes its pure practice.
410  0$aVisible Evidence
606   $aVideo recordings
606   $aVideo recordings$xHistory and criticism
606   $aAmateur films$xProduction and direction
606   $aVideo recordings
615  4$aVideo recordings.
615  0$aVideo recordings$xHistory and criticism
615  0$aAmateur films$xProduction and direction
615  0$aVideo recordings
676   $a384.55/8
676   $a384.558
700   $aMoran$b James M$0822951
801  0$bAU-PeEL
801  1$bAU-PeEL
801  2$bAU-PeEL
906   $aBOOK
912   $a9910812933503321
996   $aThere's No Place Like Home Video$94127794
997   $aUNINA