Difference between revisions of "Bootleg Video"
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==The Camcorder, the VCR, and the Repositioning of the Viewing Subject== | ==The Camcorder, the VCR, and the Repositioning of the Viewing Subject== | ||
| + | As the old adage goes, a visual medium's success is measured by how readily the medium can be used to make, distribute, and experience pornography. This saying, however glib, does contain some truth as it pertains to video— video radically redefined and redeployed the viewing subject in several key ways that acted on the libido directly. Bootleg video practice is a fecund site where modes of viewership, modes of distribution, relations between viewers, and even the content itself are reoriented around libidinal impulses. | ||
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===Surveillance, Sousveillence=== | ===Surveillance, Sousveillence=== | ||
* rodney king | * rodney king | ||
Revision as of 16:11, 21 April 2010
Contents
A Brief History of Magnetic Tape
New method of recording
Visuality and the Technical Exigencies of Video
Electronic Signal
- catoptrics/dioptrics
A visual medium containing no images
- P- and I-frames/scanlines/half-images
- No linearity
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
As the old adage goes, a visual medium's success is measured by how readily the medium can be used to make, distribute, and experience pornography. This saying, however glib, does contain some truth as it pertains to video— video radically redefined and redeployed the viewing subject in several key ways that acted on the libido directly. Bootleg video practice is a fecund site where modes of viewership, modes of distribution, relations between viewers, and even the content itself are reoriented around libidinal impulses.
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
Un-author-ized Media
- Barthes death of the author
- histories of viewership
- locations/origins of artifacts
Fake Timeshifting
We automatically, and mistakenly, tend to place technologies on a Cartesian plane of progress where the gradient from analog to digital is seen as a linear function of time. Video as a medium defies this tendency. Despite its arrival nearly a century after film, and its obvious remediation of the medium, video is a purely analog medium consisting of continuous flows of electric signal.
- TiVo
- YouTube
- Skeuomorph of play/stop/etc. buttons, but without the power to timeshift, these visual nods to the older medium are hollow
- Creation of technologies/creation of Users (Vismann)
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]
