Video Vortex reader : responses to YouTube


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After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted.

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These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists?


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Video Vortex Reader: Responses to YouTube

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Video Vortex Reader: Responses to YouTube

More filters. Sort order. Mar 19, mmm rated it liked it Shelves: Elsaesser, L. Manovich, S. Cubitt, M.

Kinder, D. Chen, S. Lange, J. Burgess, E. Losh, N. Kambouri et P. Hatzopoulos, A. Juhasz, B. Richard, M. Kampmann Art T. Sherman, V. As any material any where at any time can become a screen or is a potential screen video will have to divorce itself from cinematic language and cinematic structures.

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Video Vortex Reader - Constant

Following my interest in the question of how does the diverse development of screens, and the emergence of online as well as mobile video influence the way we compose and create moving images and narratives, this talk is another attempt to apply formal theoretical approaches to these already existing forms and appearances.

The great directors have particular affinities with particular secondary, tertiary, etc. And it is by this dovetailing of frames that the parts of the set or of the closed system are separated, but also converge and are reunited.

The moving image is formally split in parts, re-composed and re-centered through an additional act of framing equal an exaggeration. While split screens mark and separate historically spaces in cinema, frames within frames create traditionally a new element in the narrative or fictional world. Following my interest in the question of how does the diverse development of screens, and the emergence of online video influence the way we compose and create moving images and narratives, this talk is another attempt to apply formal theoretical approaches to the existing forms of online video and the interface, where it is embedded.

This YouTuber STOLE MY VIDEOS

Are we in the need of re-assessing frames in its forms as windows or doors or how does the form and forms presented by and with online video in its specific interface position the viewer? In Turkish Cinema is booming and its box office is impressive. While this development is continues over the past years, the amount of small festivals and public screenings of home grown videos is expanding the former realm of established film festivals.

What might have started as a trend of student video festivals around 10 years ago, converts in a different type of public entertainment, which is closer related to a culture of online video and P2P sharing then traditional cinema even they might have similarities. This presentation based on observations in Ankara and Istanbul tries to localize this variety of public and individual media usage.

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