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Reconciling Video and Film in Frank Gillette and Ira Schneider's Wipe Cycle

Reconciling Video and Film in Frank Gillette and Ira Schneider's Wipe Cycle Reconciling Video and Film in Frank Gillette and Ira Schneider’s Wipe Cycle rudy navarro Power is no longer measured in land, labor, the howard wise gallery ’s 1969 exhibi- or capital, but by access to information and tion Television as a Creative Medium brought the means to disseminate it. As long as the together Frank Gillette and Ira Schneider, art- most powerful tools (not weapons) are in ists who adamantly asserted the technological the hands of those who would hoard them, differences between film and video and their no alternative cultural vision can succeed. effects. For Schneider, video’s immediate Unless we design and implement alternate playback technology “fosters a life quality information structures which transcend and that I didn’t always get on film” (Gillette and reconfigure the existing ones, other alternate Schneider 9). For Gillette, seeing oneself via systems and life styles will be no more than video technology is much different from see- products of the existing process . . . Our spe- cies will survive neither by totally rejecting ing oneself on film. Feedback on tape is “the nor unconditionally embracing technology— first genuine view from the outside of what the but by humanizing it; by allowing http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Reconciling Video and Film in Frank Gillette and Ira Schneider's Wipe Cycle

Journal of Film and Video , Volume 71 (2) – Jun 10, 2019

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Reconciling Video and Film in Frank Gillette and Ira Schneider’s Wipe Cycle rudy navarro Power is no longer measured in land, labor, the howard wise gallery ’s 1969 exhibi- or capital, but by access to information and tion Television as a Creative Medium brought the means to disseminate it. As long as the together Frank Gillette and Ira Schneider, art- most powerful tools (not weapons) are in ists who adamantly asserted the technological the hands of those who would hoard them, differences between film and video and their no alternative cultural vision can succeed. effects. For Schneider, video’s immediate Unless we design and implement alternate playback technology “fosters a life quality information structures which transcend and that I didn’t always get on film” (Gillette and reconfigure the existing ones, other alternate Schneider 9). For Gillette, seeing oneself via systems and life styles will be no more than video technology is much different from see- products of the existing process . . . Our spe- cies will survive neither by totally rejecting ing oneself on film. Feedback on tape is “the nor unconditionally embracing technology— first genuine view from the outside of what the but by humanizing it; by allowing

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Jun 10, 2019

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