Short video art piece.
Social & External
The people behind it
Writes Ando, "Oh! My Mother was the first work I made using a newly bought 16mm camera I had purchased with the writer Shuji Terayama in Paris. This piece was selected for the Oberhausen International Film Festival. In 1969, there were, of course, no video cameras like ones we see now, and color TVs were only found at broadcast television studios. I had just been employed at the TBS (Tokyo Broadcasting System), and I often snuck into the studios after hours to experiment with the equipment. Oh! My Mother was made using the feedback effect, which is produced by infinitely expanding the image by looping the video."
Camera, Monitor, Frame is the first installment of Takahiko Iimura's "Video Semiotics Triptych" (the other two works are Observer/Observed, made in 1975, and Observer/Observed/Observer, made in 1976). The work analyzes the fundamental components of video: the camera, the monitor, and the frame, focusing on the role of each within a system of video as analogous to the functions of vision and speech.
Using video technology as an extension of his body, Yamamoto interacts with a pre-recorded image of his hand displayed on a monitor.
Writes Imai, "As a photographer during the 1970s, my interest in capturing time led me to explore the video medium. After utilizing video in two or three works, I saw a similarity between videotape and an ancient scroll, in that they both capture a story of our time. I started using physical videotape as a metaphorical representation of time, rolling out the magnetic tape from right to left, representing a narrative from beginning to end."
Katsuhiro Yamaguchi and Hakudo Kobayashi presented the video performance Eat at Video Hiroba's first exhibition, Video Communication DO IT YOURSELF KIT. Two performers sit at a table. One records the other eating; then they switch roles. The live video feed of the performance was displayed on a monitor in the exhibition space.
In this tape, Ko Nakajima and Video Earth Tokyo interview a homeless man. The subject is initially angry and frustrated, but gradually opens up and shares stories about his life. Under A Bridge was later broadcast on cable television.
In Idemitsu's seminal women's liberationist video, the image of a tampon swirling in a toilet bowl slowly appears, as the artist speaks about the troubling roles, responsibilities and expectations of women in a clinical tone. Minimal in composition, What a Woman Made is a candid critique of the treatment of women in Japanese society.
A collaborative performance, Image of Seeing--Seeing investigates the meaning of television watching. This work was created for television broadcast on the Nippon Broadcasting Corporation's program "Hyōgo no jikan" (Hyōgo Time).
A member of the collective Video Hiroba, Morihiro Wada also used video in his solo projects. In The Recognition Construction, each subject entering the frame is identified by a narrator, while the video camera slowly rotates. As the rotation speeds up the identification becomes more difficult, and the objects ultimately become "indecipherable."
13 minute video art piece by Phil Morton.
The Second Electronic Visualization Event took place at The University of Illinois Chicago Circle Campus in 1976. This documentation features Bob Snyder on EMU Synthesizer, Phil Morton on the Sandin Image Processor by Dan Sandin and Guenther Tetz on the GRASS (GRaphics Symbiosis System) by Tom DeFanti. In Morton's words these artists perform live realtime audio and video synthesis "using both analog and digital computers as 'visual instruments'..." Other artists credited with participation in the Electronic Visualization Events between 1975 and 1978 include Drew Browning, Larry Cuba, Barbara Latham, John Manning, Faramarz Rahbar, Ed Rankus, Michael Sterling, Barbara Sykes and Jane Veeder.
Features four distinct, bizarre, existential tales about people whose lives are in transition, who are each asking questions about themselves, their environments, and about God(s).
Phil Morton's General Motors was created in 1976. Then based in Chicago, the late Phil Morton created this project as a playful and critical video response in conversation with a local General Motors dealership from whom he had purchased a van. Segments 'Colorful Colorado' and 'RYRAL' begin after the video-complaints cease. Produced at the School of the Art Institute of Chicago (where Morton founded the Video Area), this work includes Dan Sandin and Tom DeFanti who collaboratively developed the early Video Art scene in Chicago.
Single channel HD video. Part of the "Distortion III" video album.
Short video art redux.
Produced by WGBH-TV in Boston, the Medium Is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the U.S. WGBH commissioned artists — Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini — to create original works for broadcast television. Their works explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture.
This is the story of the internal struggle between a man's Brain—a pragmatic protector who calculates his every move, and his Heart—a free-spirited adventurer who wants to let loose.
Bits of found film and different types of animation illustrate a classic chase scene scenario: A woman is abducted and a man comes to her rescue, but during their escape they find themselves in the enemy's secret headquarters.
While streetworker Mickey romances Minnie, Mickey's nephews Morty and Ferdie take control of his steamroller and it's full speed ahead on a very destructive ride.
Donald has to get up early, but everything seems to be working to keep him awake. His loudly ticking alarm clock resists several attempts to quiet it. Donald ultimately swallows it; the glow-in-the-dark dial can be seen through his feathers. Then his folding bed folds up on him. Springs start popping out of it; Donald builds an elaborate framework to hold it down. Finally, enough of the clock reassembles itself to sound the alarm and night is over.
Donald shows his nephews the moves that won him his hockey trophy. But the boys have a few moves of their own.
Buster Moon dreams up a star-studded spectacle set to Michael Jackson's "Thriller" in this animated short featuring characters from the hit "Sing" films.
Animals band together to save the day when the evil Otto Von Walrus hatches a sinister scheme to accelerate global warming and melt the Arctic Circle.
Taking all the places on both teams, Goofy demonstrates the game of football with varying results, having problems with the coach and the goal post.
Mickey's going golfing, and Pluto is his caddy. Besides the usual caddy duties, Pluto runs to the ball and points to it. But when the ball lands in a gopher hole, Pluto's got another task: chase the gopher. They eventually chase each other through a number of holes in a knoll where Mickey is trying to putt out, causing the knoll to collapse.
Donald is shoveling the snow off his walk; Chip 'n' Dale are shoveling their branch. Donald tricks them into shoveling his walk. Angered, they sneak into his house, where he's getting ready to make popcorn. They've never seen this before, but they love it. They stow away in the box, then make off with the bowl of popped corn.
Carl Fredricksen reluctantly agrees to go on a date with a lady friend—but admittedly has no idea how dating works these days. Ever the helpful friend, Dug steps in to calm Carl's pre-date jitters and offer some tried-and-true tips for making friends—if you're a dog.
With his best friend Luca away at school, Alberto is enjoying his new life in Portorosso working alongside Massimo—the imposing, tattooed, one-armed fisherman of few words—who's quite possibly the coolest human in the entire world as far as Alberto is concerned. He wants more than anything to impress his mentor, but it's easier said than done.
Short film made with the help of the Sundance Film Institute and serving as a proof-of-concept for the subsequent feature film.
Donald is an admiral on a seagoing voyage with his nephews in which they encounter a ravenous shark.
Two families embark on a pleasant Sunday picnic but manage to run into a variety of issues with their temperamental automobile. Each incident requires repeated exits and reboardings by Laurel, Hardy, their wives and grouchy, gout-ridden Uncle Edgar.
Mickey and his friends are staging a sort of olympics in a makeshift stadium on his farm. The main event is a sort of quadrathlon, with running, pole vaulting, rowing, and cycling. Mickey gets a late start due to some foul play by Pete, and that's not the only foul play.
Mickey, Minnie, Horace Horsecollar, and Clarabelle Cow go on a musical wagon ride until Peg-Leg Pete tries to run them off the road.
Donald visits the house of his new love interest for their first known date. At first Daisy acts shy and has her back turned to her visitor. But Donald soon notices her tailfeathers taking the form of a hand and signaling for him to come closer. But their time alone is soon interrupted by Huey, Dewey and Louie who have followed their uncle and clearly compete with him for the attention of Daisy. Uncle and nephews take turns dancing the jitterbug with her while trying to get rid of each other. In their final effort the three younger Ducks feed their uncle maize in the process of becoming popcorn. The process is completed within Donald himself who continues to move wildly around the house while maintaining the appearance of dancing. The short ends with an impressed Daisy showering her new lover with kisses
A narrator explains the history of the Olympic Games while Goofy demonstrates events.
The Driver drives a wounded diplomat, who carries a mysterious briefcase, while under helicopter attack. During the attack the briefcase is struck by a bullet, causing a display on it to begin counting down, and it to leak an unknown fluid from the bullet hole. The Driver manages to destroy his pursuers, but refuses to proceed without knowing the contents of the damaged briefcase. It is revealed that the diplomat guards a human heart for a peacekeeper, whose life is needed for the continued freedom of the people. The case is delivered, and the tyrant is forced to give up his attempt to take the country by force. The Driver leaves for another mission.
