| Description |
1 online resource (xxiv, 226 pages) |
| Series |
Visible evidence ; v. 12 |
|
Visible evidence ; v. 12.
|
| Contents |
Acknowledgments; Introduction: Medium Theory, Home Video, and Other Specifications; 1 What Is Video? Mapping Out Models of Medium Specificity; 2 From Reel Families to Families We Choose: Video in the Home Mode; 3 Modes of Distinction: The Home Mode, the Avant-Garde, and Event Videography; 4 Family Resemblances: The Home Mode as Chronotope; 5 The Video-in-the-Text: A Phenomenology and Narratology of Hybrid Spectatorship; Notes; Index |
| Summary |
In Theres No Place Like Home Video, James Moran offers a history of amateur home video, exploring its technological and ideological predecessors, the development of event videography, and home videos symbiotic relationship with television and film. He also investigates the broader field of video, taking on the question of medium specificity: the attempt to define its unique identity, to capture what constitutes its pure practice |
| Bibliography |
Includes bibliographical references (pages 205-217) and index |
| Notes |
English |
|
Print version record |
| Subject |
Video recordings.
|
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Amateur films -- History and criticism
|
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Video recordings -- Production and direction.
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video recordings (physical artifacts)
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TECHNOLOGY & ENGINEERING -- Television & Video.
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PERFORMING ARTS -- Film & Video -- Direction & Production.
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Amateur films
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Video recordings
|
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Video recordings -- Production and direction
|
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Gezin.
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Dagelijks leven.
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Videofilms.
|
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Representatie (algemeen)
|
| Genre/Form |
video recordings (physical artifacts)
|
|
Video recordings
|
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Criticism, interpretation, etc.
|
|
Video recordings.
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Vidéos.
|
| Form |
Electronic book
|
| ISBN |
9780816692804 |
|
0816692807 |
|
