National Video Festival
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Pros-ented By TheAmerican Film Institute Sponsored By Sony Corporation of America Table of Contents 11111111111 4 Staff and Acknowledgements Ways of Seeing: Points of View Image & Sound: Collaborations 29 Point-Counterpoint : Controversy 57 Video Art: Melodrama to Metalogue 72 Conjuring: The Image of Music by Television Organized by Robert Wisdom Curated by Peter Broderick Auto-Olympia 74 "Great Stuff That Never Got Out" Introductions as Cultural Impressions Chanoyu Curated by Roger Steffens Curated by Marita Sturken 7 Jean Firstenberg Director, Coastline 75 Music &Video: Extended Play The American Film Institute 36 Nicaragua and El Salvador : Far From Poland Art and Activism, Urgency and Ethics The Return of the Native 7 J. Philip Stack President, Organized by Julianne Burton and Karen Ranucci Framed Youth Sony Communications Products Company Rock My Religion 42 Japanese Video Works: An Historical Survey Des Frauenzimmer e James Hindman Executive Director, Curated by Fujiko Nakaya Talking Heads "Once in a Lifetime" National Video Festival heaven is what i've done 45 Japanese Public Broadcasting The Kiss 9 Jacqueline Kain Director, Introduction by Yasuke Nakahara La Tete Qui Tourne National Video Festival Jai 46 Japanese TV Commercials Juste le Temps Installation to Keynote Speaker: Benjamin DeMott Introduction by Sakumi Hagiwara NakedDoom 76 The West 48 Kheda Communication Project Introduction by K.S . Karnik Pictures that Sing 49 Native American Video The Riot Tapes 78 National Video Festival Student Preface Curated by Elizabeth Weatherford Vault Competition 12 Interview with Raymond Williams 51 Electronic Images : Popular Visions by Colin MacCabe Introduction by Victoria Costello Video Letter Why Do Things Get in a Muddle? 66 Video: Recent Narratives Television : Cultural Form From The Narrative : Screenings Curated by Barbara London 19 Television in Search of Itself : The 1950s 54 Public Television : Politics, Fiction and Curated by Robert Rosen Fantasy 24 Britain's Channel 4: The Story So Far Boys from the Blackstuff Curated by John Wyver Faustus Faustus Faustus 25 The Arts Magazine Overdrawn at the Memory Bank Alterlmage Der Riese Dis/Patches Russian Artistic Experiment There is a Videocassette in the Soup Video: Recent Narratives Video, a highly versatile image-making tool, has much earlier than did artists abroad, and have had dialogue. All of the action occurs in a large Euro- tious, others simply misinformed . Buchanan's permeated all aspects of contemporary life . Most more opportunity to use broadcast-quality pean kitchen where women, appearing to belong humorous work points out people's inclination people are aware only of video's role as a power- systems . This is a result of federal, state, and to one family, move slowly and symbolically toward preconceptions . ful "mass medium" produced and distributed foundation support, especially artist-in-residency about . Von Alemann has created a curious commercially as television. Yet video has been programs at public television and public-access nightmare-like world, where women experience Sax Island by Hank Bull and Eric Metcalfe. shown to have vast potential as a poetic form of stations . Today, with active governmental com- considerable pain . 12:00, color, 1984 . Since the late sixties independ- petition on the electronics frontier, artists in self-expression many The creation of a style and "camp" humor are the videomakers have explored the boundaries of more countries are slowly gaining access to Perfect Leader by Max Almy . 4:00, color, 1983. ent bet- motifs of Sax Island. Hand-painted sets and a result have been able to ter video equipment . This means there are fewer the technology, and as Perfect Leader explores the manufacturing of a comic book dialogue are incorporated into the expressive statements in video technical differences now between work pro- produce individual prototypical leader, who best suits television and adventures of the inhabitants of Sax Island, which ranging from the personal to duced independently in the United States and that that reflect concerns other mass media. Through computer animation, is located between Africa and South America . the political . These artists have been challenging done abroad, as this program makes apparent . the leader is assigned physical characteristics, the conventions, techniques, and styles of video clothes, and personality. Almy demonstrates the be a versatile and Juste le Temps by Robert Cahen. 13:00, color, to develop personal stories, express poetic Video continues to challenging inappropriateness of the dictator's personality for for artists . Whether artists have used 1983. visions, and create metaphorical narrative form the television, and provides an alternative-a conser- sophisticated Justele Temps is an impressionistic vision of a impressions . simplest or the most equipment, vatively dressed "Kennedy-type" figure . whether they have made fact appear to be fiction train ride through the French countryside. fiction fact, the successful work engages the Cahen s treatment of motion involves varying Today major artistic statements are being pro- or Sharkey's Day by Laurie Anderson . 5:00, color, viewer and makes an eloquent statement that camera speeds and the blurred color created by duced in video by both younger and more estab- 1983 . lished artists . "Video : Recent Narratives" could not be expressed in any other form . allowing images to remain or "lag" after the train Sharkey's Day mixes includes 41 videotapes made between 1981 and computer graphics with has moved forward. elements of the artist's performance 1984 and acquired for The Museum of Modern Art style, incor- porating mime, collection. All of the works are narrative in form, Barbara J. London, 1984 dance, and an electronically Conundrum Clinique by Colin Campbell . altered voice. The soundtrack in that they are based upon the sequential devel- describes the 15:00, color, 1981 . doings of Sharkey, who is both opment of verbal and nonverbal images that tell a androgynous and In his work Conundrum Clinique, Colin Campbell intangible-a wisp of in story. Events unfold, characters are developed, Barbara London has been with The Museum of smoke human form, a departs from conventional narrative to tell a story stick figure racing through space. and situations evolve . In many cases, reality is Modern Art's video program since it began in about the exchanging of roles in society . The interpreted impressionistically through the video- 1974 . She has taught at NYU, and lectured in story evolves into a murder mystery, the pro- maker's handling of image, language and sound. Europe, Japan, and the U.S. She has organized Viva Magritte by Ros Barron . 19:00, color, tagonist meeting his death at the point where he The narrative is a familiar form . It is not only the shows of Japanese, Latin American, and Cana- 1983 . breaks out of his normal sexual identity. basis of everyday conversation, but also the foun- dian video, and written for such publications as Ros Barron mixes art from two different periods in dation of most literary, newspaper, television, Artforum and Art News. her work Viva Magritte . Magritte's surrealist style Grimoire Magnetique by Joelle de la Casiniere . theatrical, and cinematic material . To quote and idiosyncratic characters are juxtaposed with Produced by Image Video Maufaucon ; music by Roland Barthes, "narrative is international, trans- the former Warhol "superstar" Viva. Viva Jacques Lederlin . 26:00, color, 1983 . Magritte continues Barron's earlier work relating historical, transcultural : it is simply there, like life In Grimoire Magnetique (Magnetic Rhyme), Screenings : to Magritte, altered time states, and the mingling Joelle itself de la Casiniere adapts to video the story of Hallaj ." of art and life . Program Descriptions were prepared with the AI Mansur, the 10th century Sufi master of Even though video is accessible and the narrative mysticism . The story is told in operatic style assistance of Keith C. Johnson Pictura Minuta : Portrait of the Urban Poor, form is familiar, showcases have been limited for based on a musical score by Jacques Lederlin . Oaxaca, Mexico by Hans Breder. 24:00, color, videomakers . Excluded from most regular broad- The text is sung, broken down into computer 1981-83 . cast programs, the independent has pursued City ofAngels by Marina Abramovic and F. Uwe generated syllables and told in deaf signing, over public and Pictura Minuta: Portrait ofthe Urban Poor, screening opportunities in galleries, on Laysiepen (Ulay) . Produced by Continental Video, stills which relate to this Islamic religious tale . cable television, and at film/video festivals, all of Brussles . 22:00, color, 1983 . Oaxaca, Mexico goes beyond strict documentary exposure and only nominal to present the characters and viewpoints found in which provide modest Abramovic/Ulay Qui Vole Un Oeuf, Vole Un Oeuf by Elsa Cayo. remuneration . Today, some artists are adapting In City ofAngels, set in Bangkok, a small Mexican town . Within his larger frame- a feel- 15:00, color, 1982 . vernacular of broadcast program- use lengthy shots and slow pans to evoke work, Breder creates a "portrait of Rosa," outlin- the polished minimal as Videotaped in a Paris supermarket using a for artistic and political use, in order to ing of stillness . Camera movement is ing this woman's role in a marriage in which ming both the Thai people, motionless amid rich colors and surveillance camera, artist Elsa Cayo performs the gain access to larger