TIM_B_024 Videology. Art of Moving Images II

Faculty of Arts
Spring 2020
Extent and Intensity
1/1/0. 4 credit(s). Type of Completion: zk (examination).
Teacher(s)
Mgr. Pavlína Míčová (lecturer), doc. Mgr. Jana Horáková, Ph.D. (deputy)
Guaranteed by
Mgr. Pavlína Míčová
Department of Musicology – Faculty of Arts
Contact Person: Bc. Jitka Leflíková
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Fri 6. 3. 10:00–12:40 N21, 14:00–18:40 N21, Fri 3. 4. 10:00–12:40 N21, 14:00–18:40 N21, Fri 17. 4. 10:00–12:40 N21, 14:00–18:40 N21
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 150 student(s).
Current registration and enrolment status: enrolled: 0/150, only registered: 0/150, only registered with preference (fields directly associated with the programme): 0/150
fields of study / plans the course is directly associated with
there are 6 fields of study the course is directly associated with, display
Course objectives
At the end of the course students should be able to explain the constitution and development of video as a new field of art in the US in 1968-1980.
Learning outcomes
After completing the course, the student will be able to:
- Identify and summarise the important characteristics of the main periods of video art
- Determine and describe current national and international audio-visual trends in the field of gallery films
- Perform a formal and content analysis of the work with focus on describing the language of the particular work of art
- Analyse the relation between experimental films and the art of moving images
- Analyse the differences in the reception of film work and art of moving images by the audience
Syllabus
  • - Beginnings of videoart in the USA, 1968 - 1980
  • - First artistic groups in the videoart
  • - Specifities of the videoart
  • - Themes and artistic trends in videoart
  • - Video performance, activist and community videos
  • - Technology, formal practices, experiments with image and sound
  • - Presentation and installation of the videoart
  • - Perception and reception of the videoart
Literature
    required literature
  • KROLØKKE, Ch., SØRENSEN, A. S. Gender Communication Theories & Analyses: From Silence to Performance. Thousand Oaks, Calif: Sage Publications, 2006.
  • ELWES, Ch. Video art: a guided tour. London: I. B. Tauris, 2005.
  • DREW, J. The collective camcorder in art and activism. In Collectivism After Modernism: The Art of Social Imagination After 1945. ed. Stimson, B., Gregory, S. Minneapolis: University of Minnesota Press, 2007.
  • DOWNEY, J., GONZÁLEZ, J. Juan Downey: El Ojo Pensante. Santiago, Chile: Fundación Telefónica, 2010.
  • SHAMBERG, M. Guerilla Television. New York: Raindance, 1971.
  • GREEN, V. Vertical Hold: A History of Women's Video Art. In Feedback: The Video Data Bank Catalog of Video Art and Artist Interviews. ed. Horsfield, K., Hilderbrand L. Philadelphia, PA: Temple University Press, 2006.
  • SCHNEIDER, I., KOROT B. Video Art: An Anthology. New York: Harcourt, Brace, Jovanovich, 1976.
  • ACCONCI, V. 10 Point Plan for Video. In Video Art. ed. Korot B., Schneider, I. New York: Harcourt Brace Jovanovich, 1976.
  • MARSH, K. Independent video. New York, 1973. 49 MEIGH-ANDREWS, Ch. A History of Video Art: The Development of Form and Function. Oxford: Berg, 2006.
  • ROSS, D. Truth and Consequences: American Television and Video Art. In Video Culture. ed. John G. Hanhardt. Rochester, N. Y: Visual Studies Workshop Press, 1990.
  • JONAS J. Panel Remarks. In New Television: A Public/private Art. ed. Davis, D., Simmons, A. Cambridge, Mass: MIT, 1977.
  • GRAHAM, D. Video, Architecture, Television: Writings on Video and Video Works, 1970-1978. Halifax, N. S: Press of the Nova Scotia College of Art & Design, 1979.
  • SPIELMANN, Y. Video: The Reflexive Medium. Cambridge, Mass: MIT Press, 2008.
  • STURKEN, M. Paradox in the Evolution of an Art From: Great Expectations and the Making of a History. In Illuminating video: An essential guide to video art. ed. Doug Hall and Sally Jo Fifer. New York: Aperture, 1990.
  • ENZENSBERGER. H. M. Constituents of a theory of the media. In Video Culture. ed. John G. Hanhardt. Rochester, N. Y: Visual Studies Workshop Press, 1990.
  • STURKEN, M. Steina and Woody Vasulka: Machine Media. San Francisco: San Francisco Museum of Modern Art, 1996.
  • SERRA, R. Writings, Interviews. Chicago: University of Chicago Press, 1994.
  • FRIELING, R. VT ≠ TV – The Beginnings of Video Art. In Medien Kunst Interaktion, Die 80er und 90er Jahre in deutschland/Media Art Interaction, the 1980s and 1990s in Germany. ed. Daniels, D., Frieling, R. Wienna, New York: Springler, 1997.
  • HANLEY, J., WOOSTER A-S. The First Generation: Women and Video, 1970-75. New York: Independent Curators Inc, 1993.
  • HANHARDT, J. G. Dé-collage/Collage: Notes Toward a Reexamination of the Origins of Video Art. In Illuminating video: An essential guide to video art. ed. Doug Hall and Sally Jo Fifer. New York: Aperture, 1990.
  • RUSH, M. Video Art. London: Thames & Hudson, 2003.
  • BOYLE, D. A Brief History of American Documentary Video. In Illuminating video: An essential guide to video art. ed. Doug Hall and Sally Jo Fifer. New York: Aperture, 1990.
  • HILL, Ch., HORSFIELD, K., TROY, M., & BOYLE, D. Rewind: Video Art and Alternative Media in the United States, 1968-1980. Chicago, Ill: Video Data Bank, 1996.
  • PAIK, N. J., ROSEBUSH, J. Nam June Paik: Videa 'n' Videology, 1959-1973. Syracuse, N. Y: Everson Museum of Art, 1974.
Teaching methods
Reviewing lecture with a commentary of selected audio-visual works.
Assessment methods
Written exam, active participation in class.
Language of instruction
Czech
Further Comments
Study Materials
The course is taught annually.
The course is also listed under the following terms Spring 2021, Spring 2022, Spring 2023, Spring 2024, Spring 2025.
  • Enrolment Statistics (Spring 2020, recent)
  • Permalink: https://is.muni.cz/course/phil/spring2020/TIM_B_024