User:ThomasW/Notes VideoRevolutons

Newham Z, Michale (2014) Video Revolutions, New York, Columbia University Press

Televions prodution in the 1950s used kinescopes to the film the video image off a monitor for archiving and for delaying or repating broadcasting. (Newham, 2014, page 17)

RCA vice preisdent quoated in a 1970 article offered these example of ideal videocassette content: classic music, opera, ballet, moon landing, music, Hollywood films, and childrens programs. Videocassettes would combine the markets for “movies, books, recording, audio cassettes, adult courses, encylopedias, business magazines and fairy tales,” but not for televisions. The video audience had to be offered something that they werent already getting “for free” over the airwaves. The RCA VP predicted that video recordings would be “bigger than televisions” (Newham, 2014, page 27)

Home videotapes decks and video games were often paired as “new TV toys,” discruptive innovations changing television for the better. (Newham, 2014, page 29)

In the essay “One-Gun Video Art,” Les Levins draws a stark contrast: “Television is mass media. Video art supplies only to thoes intrestreed in art... (Newham, 2014, page 33)

Richard T. Jamson described in a 1991 Film Comment essay how “this bastard brother of television seemed to threaten the intgrity -maybe even the existence- of films on film” (Newham, 2014, page 56)

The Society for Cinma Studies (SCS) convended a Task Force on Film Studies. “No film can be adequately represented by its video versions” (Newham, 2014, page 59)

The report aslo compared the images in term of contrast aspect ratio, and color reproduction, arguing that video is a “interior medium” (Newham, 2014, page 59)

The ubiquity of camcorders led Newsweek to declare, in a moment of moral panic, that “amateur videographers lurk everywhere” eager to capture comical, luring, revealing, or sensational events on camera. (Newham, 2014, page 65)

“Variety ran an obituary for the VHS cassette in 2006, Film exhibition has been transitioning to digital projection, and the screning of 35mm prints on commercial cinemas will likely not endure past 2015” (Newham, 2014, page 74)

1996 (New York Times essay The Decay of Cinema) “You wanted to be kidnapped by the movie -- and to be kidnapped was to be overwhelmed by the physical presence of the image. The experience of "going to the movies" was part of it. To see a great film only on television isn't to have really seen that film. It's not only a question of the dimensions of the image: the disparity between a larger-than-you image in the theater and the little image on the box at home. The conditions of paying attention in a domestic space are radically disrespectful of film. Now that a film no longer has a standard size, home screens can be as big as living room or bedroom walls. But you are still in a living room or a bedroom. To be kidnapped, you have to be in a movie theater, seated in the dark among anonymous strangers. “ (Newham, 2014, page 88,89)