Difference between revisions of "Bootleg Video"
From Dead Media Archive
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==Bootleggers vs. Pirates== | ==Bootleggers vs. Pirates== | ||
| + | ===Correcting the Market=== | ||
| + | * bootleggers bring un-author-ized products to market where they would normally exist | ||
| + | * timeshifting and betamax decision | ||
| + | * the Law | ||
==The Camcorder, the VCR, and the Repositioning of the Viewing Subject== | ==The Camcorder, the VCR, and the Repositioning of the Viewing Subject== | ||
Revision as of 15:29, 21 April 2010
Contents
A Brief History of Magnetic Tape
Visuality and the Technical Exigencies of Video
Bootleggers vs. Pirates
Correcting the Market
- bootleggers bring un-author-ized products to market where they would normally exist
- timeshifting and betamax decision
- the Law
The Camcorder, the VCR, and the Repositioning of the Viewing Subject
Surveillance, Sousveillence
- rodney king
- cctv aesthetics
- foucault
- flash-forward to "citizen journalism"
Transferal of Jouissance
- the "pervert" who films
- pamela & tommy lee
Palimpsest of Jouissance
- the "pervert" who watches
- the underground tape railroad
The Freedom of Timeshifting
- the VCR will watch for you
- nationalism & shared time
Amorous Media/Promiscuous Media
References
- Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. The MIT Press. 1990.
- Hilderbrand, Lucas. Inherent Vice: Bootleg Histories of Videotape and Copyright. Duke University Press. 2009.
- Spielmann, Yvonne. Video: The Reflexive Medium. The MIT Press. 2008.
- Zizek, Slavoj. "The Interpassive Subject" in Traveses. Centre Georges Pompidou. 1998. [1]
