A process of detachment and relativization of the unknown, the different, the uncontrollable, the impact of the strange experience to generate a thought influenced both by the media and memory. 3 Mostra de Vídeo Independent de Barcelona 1996.
3 Muestra de Vídeo Independente
92 Archival description results for 3 Muestra de Vídeo Independente
3 Mostra de Vídeo Independent de Barcelona 1996.
From the outside of the Guggenheim Museum, through glass walls, a home video camera records the social activity provoked by an Antonio Tàpies exhibition. An unsettling camera movement gives us these images, accompanied by the soundtrack of "The Critters". 3rd Mostra de Vídeo Independent de Barcelona 1996.
UntitledHester dressed as Jesus Christ sings "A Spy in the House of Love" by The Doors. In the background images of Babylonian excess... 3 Mostra de Vídeo Independent de Barcelona 1996.
Infiltration into the convention of a major American political party. The independent video maker enters the convention very discreetly and within a few minutes reaches the presidential stratum. 3 Mostra de Vídeo Independent de Barcelona 1996.
Studio Bankside was Derek Jarman’s first film. It is a diary recording daily activity in the studio where he lived and worked, and in the surrounding streets. He shot his Super8 films without prior plans, but gave weight to the resulting images by radically slowing them down, sometimes to three frames a second, and adding music. 3 Mostra de Vídeo Independent de Barcelona 1996.
UntitledThrough the information storm we can sense the media schizophrenia that coexists with any television viewer. Without apparent criterion, the media concoct an isolationist costume. 3 Mostra de Vídeo Independent de Barcelona 1996.
UntitledFilm promoting use of Technicolor process to industrial film producers. (The Prelinger Archives are a source of educational material, mainly ordered by theme, giving a vision of the dark side, the underbelly, perhaps naive of the American dream and the America that is often hidden behind the media curtain.) 3 Mostra de Vídeo Independent de Barcelona 1996.
Once the technology had created the first standards for recording, the video reached a level of ease of operation that allowed him develop as a reflective mechanism for the return of altered media icons, the contrast between the object and projecting simulated sinister and dark original. Exploring the development, Dara Birnbaum performed in the late seventies a classical piece, Technology Transformation: Wonder Woman, an intensive review of the role of women in television at the time, from the use of part of the series Wonder Woman television. 3 Mostra de Vídeo Independent de Barcelona 1996.
3 Mostra de Vídeo Independent de Barcelona 1996.