TIM_B_023 Videology. The Art of Moving Images I

Faculty of Arts
Autumn 2021
Extent and Intensity
1/1/0. 3 credit(s). Type of Completion: z (credit).
Taught in person.
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
Fri 24. 9. 10:00–12:40 N51, 14:00–18:40 N51, Fri 22. 10. 10:00–12:40 N51, 14:00–18:40 N51, Fri 26. 11. 10:00–12:40 N51, 14:00–18:40 N51
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: 22/150, 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
Course objectives
The ability to define the specifics of video art and the art of moving images The lecture will present the definitions of the individual trends, communities, groups, manifestos and aesthetics of video art and the art of moving images from 1960s to the present. We will analyse media specifics, both from the technological and aesthetic aspect, based on the essay On the Philosophy of VT and VTR of 1974, where author Peter Weibel presents five formal attributes of video, mutually closely related, on the basis of which it is possible to create new connections and works: a) synthetics; b) transformation; c) self-reference; d) instant time; e) box. To demonstrate this part of the lecture, a selection of international retrospective curator video collections will be presented. The collected works present the diversity of artistic work, in the broad spectrum from playful formal experiments with images and sound, through works using pioneering technological procedures or remixing various material found, to videos created by recording experiments analogous to the scientific ones, distinguished namely by the desire to go beyond the limits of the known technologies.
The second part of the lecture will present the works of generationally close Czech or Slovak authors. We will present and analyse the audio-visual work of selected distinct authors in the field of new media and animation at art schools (AVU, FaVu, FAMU, VŠUP and other). The students will learn about the current trends (theme-related and technology-related) on the basis of the introductory historical excursion of the issue of audio-visual art. The lecture will also include a presentation of numerous videos and audio-visual works and introduction of the individual creative personalities.
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
  • - The beginning of video art
  • - The first art groups in video art
  • - The specifics of video art
  • - Themes and artistic trends in video art
  • - Video performance, activist and community videos
  • - Technology, formal procedures, experiments with images and sound
  • - Presentation and installation of video art
  • - Audience perception and reception of video art
  • - Current trends in the art of moving images
    required literature
  • 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.
  • SCHNEIDER, I., KOROT B. Video Art: An Anthology. New York: Harcourt, Brace, Jovanovich, 1976.
  • 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.
  • ACCONCI, V. 10 Point Plan for Video. In Video Art. ed. Korot B., Schneider, I. New York: Harcourt Brace Jovanovich, 1976.
  • SHAMBERG, M. Guerilla Television. New York: Raindance, 1971.
  • HANLEY, J., WOOSTER A-S. The First Generation: Women and Video, 1970-75. New York: Independent Curators Inc, 1993.
  • 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.
  • SPIELMANN, Y. Video: The Reflexive Medium. Cambridge, Mass: MIT Press, 2008.
  • 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.
  • 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.
  • PAIK, N. J., ROSEBUSH, J. Nam June Paik: Videa 'n' Videology, 1959-1973. Syracuse, N. Y: Everson Museum of Art, 1974.
  • DOWNEY, J., GONZÁLEZ, J. Juan Downey: El Ojo Pensante. Santiago, Chile: Fundación Telefónica, 2010.
  • 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.
  • 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.
  • ELWES, Ch. Video art: a guided tour. London: I. B. Tauris, 2005.
  • 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.
  • 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.
  • JONAS J. Panel Remarks. In New Television: A Public/private Art. ed. Davis, D., Simmons, A. Cambridge, Mass: MIT, 1977.
  • 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.
  • KROLØKKE, Ch., SØRENSEN, A. S. Gender Communication Theories & Analyses: From Silence to Performance. Thousand Oaks, Calif: Sage Publications, 2006.
  • 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.
  • RUSH, M. Video Art. London: Thames & Hudson, 2003.
Teaching methods
Reviewing lecture with a commentary of selected audio-visual works.
Assessment methods
Written exam, active participation in class.
Language of instruction
Further Comments
Study Materials
The course is taught annually.
The course is also listed under the following terms Autumn 2019, Autumn 2020.
  • Enrolment Statistics (recent)
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