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Animating the periphery: "Studio of ...

Mansfield, Corey.

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Animating the periphery: "Studio of the Streets" and the politicization of the Buffalo community through public access television and media literacy.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Animating the periphery: "Studio of the Streets" and the politicization of the Buffalo community through public access television and media literacy./
作者:	Mansfield, Corey.
面頁冊數:	66 p.
附註:	Source: Masters Abstracts International, Volume: 53-03.
Contained By:	Masters Abstracts International53-03(E).
標題:	Art history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1560549
ISBN:	9781321038200

Animating the periphery: "Studio of the Streets" and the politicization of the Buffalo community through public access television and media literacy.
Mansfield, Corey.

Animating the periphery: "Studio of the Streets" and the politicization of the Buffalo community through public access television and media literacy. - 66 p.

Source: Masters Abstracts International, Volume: 53-03.

Thesis (M.A.)--University of Southern California, 2014.

This item must not be sold to any third party vendors.

This essay provides an historical contextualization of Studio of the Streets, a public access television program produced by the artists Tony Conrad and Cathy Steffan in Buffalo, NY from 1990 to 1993. Originally conceived as a recorded demonstration on the steps of City Hall for increased cable television provisions, the project developed over the years into a means for, in Conrad's term, "animating" the politicization of the city's marginalized inhabitants through the two-fold processes of face-to-face conversation and video witnessing. The producers' developing activist ethos and investment in collectivity moreover reflects the prevalence of such postmodern discourses as identity politics and globalization during that period, in addition to revealing the radical changes brought about by concurrent and fluctuating shifts in video technology. In this manner, the significance of Studio of the Streets ultimately reveals itself not only through its unique theoretical underpinning but also through its placement within the history of video activism both nationwide and in Buffalo. While the project ultimately failed in its principal intention of inspiring a new legion of local media producers, Studio of the Streets maintains relevance today as a model for the issues involved with properly recontextualizing past activist public access television endeavors either within the art gallery or across the disparate network of such online video platforms as YouTube.

ISBN: 9781321038200Subjects--Topical Terms:

2122701
Art history.

Animating the periphery: "Studio of the Streets" and the politicization of the Buffalo community through public access television and media literacy.
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520 $a This essay provides an historical contextualization of Studio of the Streets, a public access television program produced by the artists Tony Conrad and Cathy Steffan in Buffalo, NY from 1990 to 1993. Originally conceived as a recorded demonstration on the steps of City Hall for increased cable television provisions, the project developed over the years into a means for, in Conrad's term, "animating" the politicization of the city's marginalized inhabitants through the two-fold processes of face-to-face conversation and video witnessing. The producers' developing activist ethos and investment in collectivity moreover reflects the prevalence of such postmodern discourses as identity politics and globalization during that period, in addition to revealing the radical changes brought about by concurrent and fluctuating shifts in video technology. In this manner, the significance of Studio of the Streets ultimately reveals itself not only through its unique theoretical underpinning but also through its placement within the history of video activism both nationwide and in Buffalo. While the project ultimately failed in its principal intention of inspiring a new legion of local media producers, Studio of the Streets maintains relevance today as a model for the issues involved with properly recontextualizing past activist public access television endeavors either within the art gallery or across the disparate network of such online video platforms as YouTube.
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