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This book presents ways to break the stranglehold of broadcast television on the American mind by using low-cost portable video-tape cameras, video cassettes, and cable television to design alternative television networks that favor portability and decentralization. The author's contention is that politics are obsolete and that information tools and tactics are a more powerful means of social change. To achieve true democracy, the author suggests that we develop a sense of media ecology in what he calls "media America," or the information environment. This is the first manual or how-to book for new media tools.
Before the Internet, camcorders, and hundred-channel cable- systems--predating the Information Superhighway and talk of cyber-democracy--there was guerilla television. Part of the larger alternative media tide which swept the country in the late sixties, guerilla television emerged when the arrival of lightweight, affordable consumer video equipment made it possible for ordinary people to make their own television. Fueled both by outrage at the day's events and by the writings of people like Marshall McLuhan, Tom Wolfe, and Hunter S. Thompson, the movement gained a manifesto in 1971, when Michael Shamberg and the raindance Corp. published Guerilla Television. As framed in this quixotic text, the goal of the video guerilla was nothing less than a reshaping of the structure of information in America. In Subject to Change, Deidre Boyle tells the fascinating story of the first TV generation's dream of remaking television and their frustrated attempts at democratizing the medium. Interweaving the narratives of three very different video collectives from the 1970s--TVTV, Broadside TV, and University Community Video--Boyle offers a thought-provoking account of an earlier electronic utopianism, one with significant implications for today's debates over free speech, public discourse, and the information explosion.
This is a history of "guerilla television", a form of TV which was part of an alternative media tide sweeping the United States in the 1960s. Inspired by the fracturing issues of the decade and the theories and writings of various exponents, guerilla television put forth "utopian" programming.
2. Armed Guerrilla Media Ecologies from Latin America to Europe -- Introduction: Contra 'Mass Mediated Terrorism' -- Revolution in the Revolution: The Urban Guerrilla Concept from Latin America to Europe and North America -- Brigate Rosse and Armed Struggle in Italy -- The 'Baader Meinhof Complex' and the June 2nd Movement -- Weather Variations: Weatherman, the Weather Underground, and the Symbionese Liberation Army -- 3. Autonomy Movements, the Nexus of 1977, and Free Radio -- Introduction: Radical Politics, Bifurcations, and the Event -- Italian Workerism and Autonomia -- 1977 as Nexus: The Movement of 1977, Creative Autonomia, and Punk -- Rebellious Radio from Marconi to Free Radios -- Media beyond 'Socialist Strategy': Enzensberger, Baudrillard, and the Genealogy of Radio Alice -- The Media Ecology of Radio Alice -- 4. Militant Anti-Cinemas, Minor Cinemas and the Anarchive Film -- Introduction: Destroying the (Cinema) Apparatus, Transforming the (Audiovisual) Machine -- Militant Anti-Cinemas in the 1970s -- Minor Anti-Cinemas: Anti Psychiatric, Heretical, Feminist, and Postcolonial -- The Counter-Public Sphere, Anarchival Film, and Documentary Symptomatologies -- 5. Ecologies of Radical and Guerrilla Television -- Introduction: Cinema/Television/Video or Cain vs. Abel Revisited -- Sonimage, Fassbinder, and Radical Auteur Television -- Ecologies of Guerrilla Television: Ant Farm, Raindance Corporation, TVTV, and Radical Software -- Conclusion: Terms of Cybernetic Warfare -- Endnotes -- Bibliography -- Key Film, Television, and Video Cited -- Index
Guerrilla Girls: The Art of Behaving Badly is the first book to catalog the entire career of the Guerrilla Girls from 1985 to present. The Guerrilla girls are a collective of political feminist artists who expose discrimination and corruption in art, film, politics, and pop culture all around the world. This book explores all their provocative street campaigns, unforgettable media appearances, and large-scale exhibitions. • Captions by the Guerrilla Girls themselves contextualize the visuals. • Explores their well-researched, intersectional takedown of the patriarchy In 1985, a group of masked feminist avengers—known as the Guerrilla Girls—papered downtown Manhattan with posters calling out the Museum of Modern Art for its lack of representation of female artists. They quickly became a global phenomenon, and the fearless activists have produced hundreds of posters, stickers, and billboards ever since. • More than a monograph, this book is a call to arms. • This career-spanning volume is published to coincide with their 35th anniversary. • Perfect for artists, art lovers, feminists, fans of the Guerrilla Girls, students, and activists • You'll love this book if you love books like Wall and Piece by Banksy, Why We March: Signs of Protest and Hope by Artisan, and Graffiti Women: Street Art from Five Continents by Nicholas Ganz
How a collective of artists, storytellers, and activists exploited the new technology of portable video for creative and political purposes.
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Critique has long been a central concept within art practice and theory. Since the emergence of Conceptual Art, artists have been expected by critics, curators, and art school faculty to focus their work on exposing and debunking ideologies of power and domination. Recently, however, the effectiveness of cultural critique has come into question. The appearance of concepts such as the "speculative," the "reparative," and the "constructive" suggests an emerging postcritical paradigm. Beyond Critique takes stock of the current discourse around this issue. With some calling for a renewed criticality and others rejecting the model entirely, the book's contributors explore a variety of new and recently reclaimed criteria for contemporary art and its pedagogy. Some propose turning toward affect and affirmation; others seek to reclaim such allegedly discredited concepts as intimacy, tenderness, and spirituality. With contributions from artists, critics, curators and historians, this book provides new ways of thinking about the historical role of critique while also exploring a wide range of alternative methods and aspirations. Beyond Critique will be a crucial tool for students and instructors who are seeking to think and work beyond the critical.
Video Art Theory: A Comparative Approach demonstrates how video art functions on the basis of a comparative media approach, providing a crucial understanding of video as a medium in contemporary art and of the visual mediations we encounter in daily life. A critical investigation of the visual media and selected video artworks which contributes to the understanding of video as a medium in contemporary art The only study specifically devoted to theorizing the medium of video from the perspective of prominent characteristics which result from how video works deal with time, space, representation, and narrative The text has emerged out of the author’s own lectures and seminars on video art Offers a comparative approach which students find especially useful, offering new perspectives
For too long, the field of amateur cinema has focused on North America and Europe. In Global Perspectives on Amateur Film Histories and Cultures, however, editors Masha Salazkina and Enrique Fibla-Gutiérrez fill the literature gap by extending that focus and increasing inclusivity. Through carefully curated essays, Salazkina and Fibla-Gutiérrez bring wider meaning and significance to the discipline through their study of alternative cinema in new territories, fueled by different historical and political circumstances, innovative technologies, and ambitious practitioners. The essays in this volume work to realize the radical societal democratization that shows up in amateur cinema around the world. In particular, diverse contributors highlight the significance of amateur filmmaking, the exhibition of amateur films, the uses and availability of film technologies, and the inventive and creative approaches of filmmakers and advocates of amateur film. Together, these essays shed new light on alternative cinema in a wide range of cities and countries where amateur films thrive in the shadow of commercial and conventional film industries.