B?ker
Yvonne Spielmann: Video. The Reflexive Medium , Cambridge, Mass. 2008. MIT Press. (355 s.) F?lgende sider utg?r: 173–181; 185–191; 216–220..
A. L. Rees: A History of Experimental Film and Video. From the canonical avant-garde to contemporary British practice , London. BFI Publishing. (Introduction og Part 1, 77 s.) .
P. Adam Sitney: Visionary Film. The American Avant-Garde, 1943-2000 , Oxford, 2002 [1974]. Oxford University Press. F?lgende kapitler: ”1. Meshes of the Afternoon”; ”4. The Magus”; ”12. Structural Film.” .
Kate Mondloch: Screens. Viewing Media Installation Art , Minneapolis, Minn. 2010. University of Minnesota Press. 130 s. .
Ca. 600 sider.
De resterende 400 sidene utgj?res av artikler og kapitler i kompendium.
Pensum i kompendium
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Husk studentbevis ved kj?p av kompendier.
Tom Gunning: "An Aesthetics of Astonishment. Early Film and the (In)Credulous Spectator" i red. Linda Williams: Viewing Positions. Ways of Viewing Films, New Brunswick, N.J, 2005. Rutgers University Press. s 114-134.
John G. Hanhardt: "Dé-collage/Collage: Notes Towards a Reexamination of the origins of Video Art" i Doug Hall & Sally Jo Fifer, red.: Illuminating Video: An Essential Guide to Video Art, New York: , 1991. Aperture. 71–79.
Miriam Hansen: "Early Cinema, Late Cinema: Transformations of the Public Sphere" i Viewing Positions. Ways of Viewing Films, New Brunswick, N.J., 2005. Rutgers University Press. 134-152.
Miriam Hansen: "Early Cinema: Whose Public Sphere?" i red. Thomas Elsaesser og Adam Barker : Early Cinema. Space, Frame, Narrative, London, 1990. BFI Publishing. 228-247..
Erkki Huhtamo og Jussi Parikka: "Introduction. An Archaeology of Media Archaeology" i red. Erkki Huhtamo og Jussi Parikka : Media archaeology. Approaches, Applications, and Implications, Berkeley, Calif.: 2011. University of California Press. s 1-25. .
Chrissie Iles: "Video and Film Space" i Erika Suderburg, ed. : Space, Site, Intervention: Situating Installation Art, Minneapolis:2000. University of Minnesota Press. 252–262.
Chrissie Iles: "Issues in the New Cinematic Aesthetics in Video" i Tanya Leighton og Pavel Büchler (red.): Saving the Image. Art After Film, Glasgow:2003. Glasgow: Center for Contemporary Art. 129–141.
Liz Kotz: "Video Projection: The Space Between Screens" i Tanya Leighton (red.): Art and the Moving Image: A Critical Reader, London:2008. Tate Publishing. 371–386.
Tanya Leighton: "Art and the Moving Image: A Critical Reader" i Tanya Leighton (red.): London: 2008, Tate Publishing. 7-40.
Lev Manovich: "Prologue: Vertovs Dataset” og “What is New Media" i The Language of New Media , Cambridge, Mass., 2001. MIT Press. xiv–xxxvi; 18–61. .
Margaret Morse: "Video Installation Art: The Body, the Image, and the Space-in-Between" i Doug Hall & Sally Jo Fifer, red. : Illuminating Video: An Essential Guide to Video Art, New York: 1991. Aperture. 153–168.
Marita Sturken: "Paradox in the Evolution of an Art Form: Great Expectations and the Making of a History" i Doug Hall & Sally Jo Fifer, red. : Illuminating Video: An Essential Guide to Video Art, New York: 1991. Aperture. 101–121.
Gloria Sutton: "Stan VanDerBeek’s Movie-Drome: Networking the Subject" i Jeffrey Shaw, Peter Weibel, eds.: Future Cinema: The Cinematic Imaginary After Film, Cambridge Mass.. MIT Press, 2003. 136-143.
Susanne ?stby S?ther: "Under the Label of Sampling: Sampling and related artistic practices" i S. ?. S?ther : The Aesthetics of Sampling, Oslo: 2009. Faculty of Humanities. 35-84.
Dziga Vertov: "We: Variant of a Manifesto" i Annette Michelson red.: Kino-Eye: The Writings of Dziga Vertov, London : 1984. Pluto Press. 5-11.
Dziga Vertov: "Kinoks: A Revolution" i Annette Michelson red.: Kino-Eye: The Writings of Dziga Vertov , London : 1984. Pluto Press. 11-21.
Jonathan Walley: "Modes of Film Practice in the Avant-Garde" i Tanya Leighton (red.), : Art and the Moving Image: A Critical Reader, London: 2008. Tate Publishing. 182–199.
Haidee Wasson: "The Networked Screen: Moving Images, Materiality, and the Aesthetics of Size" i red. Janine Marchessault og Susan Lord: Fluid Screens, Expanded Cinema, Toronto: 2007. University of Toronto Press. 74-96.
William Wees: Recycled Images. The Art and Politics of Found Footage Films , New York: 1993. Anthology Film Archives. 3–32.
Artikler elektronisk tilgjengelig (UBO/Ask):
Thomas Elsaesser: "The New Film History as Media Archaeology" i Cinémas: Journal of Film Studies, vol. 14, nos. 2–3 (2004). pp. 75–117. Lenke.
David Joselit: "The Video Public Sphere" i Art Journal, Vol. 59, No. 2 (Summer, 2000). pp. 46-53. Lenke.
Rosalind Krauss: "Video: The Aesthetics of Narcissism" i October, Vol. 1 (Spring, 1976). pp. 50-64. Lenke.
Pavle Levi: "Cinema by Other Means" i October, Vol. 131 (Winter, 2010). pp. 51-68. Lenke.
Christine Ross: "The Temporalities of Video: Extendedness Revisited" i Art Journal , 65:3 (Fall 2006). pp. 82-99. Lenke.
Malcolm Turvey: "Dada between Heaven and Hell: Abstraction and Universal Language in the Rhythm Films of Hans Richter" i October, Vol. 105 (Summer, 2003). Dada. pp. 13-36. Lenke.
Anne M. Wagner: "Performance, Video, and the Rhetoric of Presence" i October, Vol. 91, (Winter, 2000). pp. 59-80. Lenke.
Jonathan Walley: "The Material of Film and the Idea of Cinema: Contrasting Practices in Sixties and Seventies Avant-Garde Film" i October, vol. 103, (Winter, 2003). pp. 15-30. Lenke.
Peter Wollen: "The Two Avant-Gardes" i f?rst publisert i : Studio International, november/desember 1975. Lenke.
Supplerende litteratur
Artikler og utdrag i kompendium
Stan Brakhage: "Metaphors of Vision" i P. Adams Sitney (red.) : The Avant-Garde Film. A reader of Theory and Criticism, New York: 1978. New York University Press. 120–129.
Thomas Elsaesser: "Early Film History and Multi-Media: An Archaeology of Possible Futures?" i red. Wendy Hui Kyong Chun og Thomas Keenan: New Media, Old Media: A History and Theory Reader, New York: 2006. Routledge. 13-25.
Dan Graham: "Essay on Video, Architecture, and Television" i Selected Writings by Dan Graham on his Art, Dan Graham og Alexander Alberro, red.: Two-Way Mirror Power, Cambridge, Mass.: 1999. MIT Press. 52-61.
David E. James, kapittel 2: : "Stan Brakhage: The Filmmaker as Poet" i David E. James : Allegories of Cinema. American Film in the Sixties, Princeton, N.J., 1989. Princeton University Press. 29–57.
Anthony McCall: "Two Statements" i P. Adams Sitney (red.) : The Avant-Garde Film. A reader of Theory and Criticism, New York: 1978. New York University Press. 250–254.
Annette Michelson: "Introduction" i Annette Michelson red.: Kino-Eye: The Writings of Dziga Vertov, London :1984. Pluto Press. xv-lxi..
Paul Sharits: "Hearing: Seeing" i P. Adams Sitney (red.) : The Avant-Garde Film. A reader of Theory and Criticism, New York: 1978. New York University Press. 255-260..
Patrik Sj?berg: "Compilationism and Compilation Film" i Patrik Sj?berg : The World in Pieces. A Study of Compilation Film, Stockholm:2001. Aura f?rlag. 208-262..
Gene Youngblood, utdrag fra : "Part Six: Intermedia" i E. P. Dutton & Co., : Expanded Cinema, (New York: 1970. 346–351; 387–398.
Gene Youngblood , utdrag fra : "Part Five: Television as Creative Medium" i E. P. Dutton & Co.: Expanded Cinema , New York: 1970. 257–280; 302–308; 337–344.
Artikler elektronisk tilgjengelig (UBO/Ask):
Rosalind Krauss: "Two Moments from the Post-Medium Condition" i October, no. 116, Spring 2006. pp. 55–62. Lenke.
Malcolm Turvey og George Baker: "Round Table: The Projected Image in Contemporary Art" i Malcolm Turvey, Hal Foster, Chrissie Iles, George Baker, Matthew Buckingham and Anthony McCall : October, Vol. 104, (Spring, 2003). pp. 71-96. Lenke.