Search Results for vid

...Francesca Coppa Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation of and confrontation...

...Francesca Coppa; Rebecca Tushnet Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...

...Kristina Busse; Alexis Lothian Vidding is a thirty-year-old remix practice in which predominantly female media fans reedit television or film into music videos. Vidding is important not only as an art form in its own right but also as a subcultural — and often feminist — reinterpretation...

... on women and vidding, essays on activist documentary, and interviews with filmmakers Anna Biller and acclaimedbenshi Midori Sawato. We encourage authors to use the short format to experiment with form in a critical context. The section includes solicited contri- butions and open submissions...

... on women and vidding, essays on activist documentary, and interviews with filmmakers Anna Biller and acclaimed benshi Midori Sawato. We encourage authors to use the short format to experiment with form in a critical context. The section includes solicited contri- butions and open submissions...

... on women and vidding, essays on activist documentary, and interviews with filmmakers Anna Biller and acclaimedbenshi Midori Sawato. We encourage authors to use the short format to experiment with form in a critical context. The section includes solicited contri- butions and open submissions...

... Own: Vidding as Women's Work,” Camera Obscura , no. 77 (2011): 123–30; Elizabeth Losh, “Together Apart: FemTechNet and Feminist Online Collectives,” Camera Obscura , no. 93 (2016): 133–39; Faye Stewart, “Women of DEFA: Gender, Labor, and Precarity in (Post)Socialist Cinema,” Camera Obscura , no. 99...

..., Terminator : Rise of the Machines (dir. Jonathan Mostow, US/Germany/UK, and Terminator Salvation (dir. McG, US/Germany/UK/Italy, and the TV series Terminator: The Sarah Connor Chronicles (Fox, – Charmax, “Vid: Unnatural Selection — Battlestar Galactica/Terminator...

... Us Two (Palestine, part of a larger online series, suggest additional distribution alternatives. In Rezik’s vid- eos, set among cosmopolitan youth, social taboos such as religious difference and queer desire are taken on through playful subver- sions of foreground/background image...

..., handwritten title credit reads: “No televisual image wants or is able to represent us. We express ourselves with video.” An extraordinary example of vid- eo’s capacity to disrupt and reinvent the hegemonic, bland, and watered-­down politics of feminism shown on television screens, Maso et Miso...

... received some black-and-white reel-to-reel informal vid- eos called Videoletters — stories and images from meetings of other CR groups, which circulated under the radar around the country. I later found out that Videoletters had been conceived and set in motion by Ariel Dougherty, one...

... expression, both explore what Young calls “the thin line between art and sex” in their work.43 Two of their vid- eos, McKai’s Art School Sluts (US, 2004) and Young’s Art House Sluts (US, 2010), foreground art as a site for sexual as well as aesthetic experimentation, both in their strikingly...

... through LA as a site. Instead of highlighting the temporality of television (as Joselit argues Campus, Bruce Naumann, and others do) and the space of projection, Ma thematizes space as subject. The Xin Lu Video Bus Tour makes use of a tour bus’s video monitors to run the four vid- eos...

... narrative as the dominant appeal of the text. A youngster who has a favorite film or program on vid- eotape often fastforwards past the slow expository passages on a sec- ond viewing to get to the ‘‘good parts to find the place where Large Marge’s eyes pop from her head or where Slimer smears...

... (self-portrait), subtending both with a third mode: aural repre- sentation of an acoustic self. In contrast to the innovative collage and montage visual experimentations and techniques of the Histoire(s) du cinéma vid- eo project, in JLG/JLG Godard...

... life — that is, violence performed against an individual or group that is also intended for public consumption (think of the 9/11 attacks, or vid- eotaped beheadings posted online by groups affiliated with ISIS). Their work provides an illustration of this shift away from a focus on trauma...

..., and Women-like the growing body of independent AIDS vid- eos-graphically demonstrates why the AIDS epidemic is a feminist issue: it shows the cultural silencing of women, their exclusion from debates about their own fate, and their dependence upon those who are more powerful...