{"id":4680,"title":"Binghamton University - Cinema Department \u0026 Artists Lab at School for Advanced Technology,  (1977, 1980, 1983, 1998)","kind":"biblio","url":"https://www.videohistoryproject.org/binghamton-university-cinema-department-artists-lab-school-advanced-technology-1977-1980-1983-1998","version":"eaf68870e7eaeb44c00e5369b4f4d28df881e431129333e6ff570ef5a54bf2c5","modified":"2026-09-13T21:52:08.1933823+00:00","credits":[],"authorKeys":[],"subjects":["Groups"],"metadata":[{"label":"Group dates","value":"1969 - present","url":null},{"label":"Group location","value":"Binghamton, New York","url":null},{"label":"Group","value":"Binghamton University - Cinema Department \u0026 Artists Lab at School for Advanced Technology","url":null}],"citations":{"page":"\u0022Binghamton University - Cinema Department \u0026 Artists Lab at School for Advanced Technology,  (1977, 1980, 1983, 1998).\u0022 Video History Project, Experimental Television Center, 2026. https://www.videohistoryproject.org/binghamton-university-cinema-department-artists-lab-school-advanced-technology-1977-1980-1983-1998.","publication":"Binghamton University - Cinema Department \u0026 Artists Lab at School for Advanced Technology, (1977, 1980, 1983, 1998). .","risUrl":"https://www.videohistoryproject.org/citation/4680.ris"},"links":[{"label":"Cinema Department","url":"#Cinema","relationship":"record body link","contentType":null},{"label":"The Electronic Gallery Exhibitions","url":"#The Electronic Gallery","relationship":"record body link","contentType":null},{"label":"Cinema Department Program \u0026 Relationship with Experimental Television Center","url":"#Cinema Department, University Center at","relationship":"record body link","contentType":null},{"label":"Artist\u0027s TV Lab S.A.T. Plan School for Advanced Technology","url":"#Artist\u0027s TV Lab S.A.T. Plan School for Advanced","relationship":"record body link","contentType":null}],"sections":[{"name":"body","source":"VHP record body","generated":false,"characters":14310}],"content":{"section":"body","source":"VHP record body","generated":false,"text":"Cinema Department Pamela Susan Hawkins, 1998 The Electronic Gallery Exhibitions 1980, 1983 Cinema Department Program \u0026 Relationship with Experimental Television Center Survey of Film/Television/Video/Still Photography/Electronic Music Activity at State University of New York Campuses John Minkowsky. 1977 Artist\u0027s TV Lab S.A.T. Plan School for Advanced Technology Cinema Department \u0022The first traces of a Cinema Department appeared at S.U.N.Y. Binghamton in the Spring of 1969, when Larry Gottheim taught a film course in the English Department. At that time, Ken Jacobs, an underground filmmaker was invited to give a seminar. A program in Cinema was instituted during the 1969-70 academic year, and Jacobs was hired. Gottheim had received a National Endowment for the Humanities Grant that year, so Jacobs taught the entire program. In 1970-71, Gottheim returned, and the two developed the (1972) scheme of courses. Ralph Hocking, Lecturer in Photography and Television, was added as an \u0027irregular\u0027 member of the department,\u0022 (1) teaching the first video making course in 1973, along with courses in photography. (2) Hocking had begun the Student Experiments in Television in 1969, a program which provided access to new video technology to students and other members of the academic community, as well as the general public. In 1970 Hocking formed and incorporated the Community Center for Television Production, a precursor of the Experimental Television Center, and with assistance from the New York State Council on the Arts moved to a loft space in downtown Binghamton. Along with extensive programs for artists and the community, Hocking also involved students from the Cinema Department, teaching some courses in the downtown space. The goal of the Department according to Gottheim is to \u0022teach students to comprehend cinema as an art... To accomplish this purpose, students are shown films which do not always fall into the traditional categories of those made in Hollywood and in foreign countries.\u0022 Gottheim stated that \u0022Here you can develop yourself as a serious film artist or an artistic thinker about films. So-called \u0027difficult\u0027 works can be shown, and people can appreciate them.\u0022 At this time the University produced the Film Symposium, showing the works of a number of independent filmmakers screening and discussing their work along with the premiere of a finished portions of Nicholas Ray\u0027s 1972 film \u0022Don\u0027t Expect Too Much.\u0022 (1) Nicholas Ray was director of films such as \u0022In a Lovely Place,\u0022 \u0022Johny Guitar,\u0022 and \u0022Rebel Without a Cause.\u0022 In 1972, as Visiting Professor of Cinema at S.U.N.Y. at Binghamton worked with a student based film crew to produce the tentatively titled \u0022Don\u0027t Expect Too Much.\u0022 (1) \u0022Nicholas Ray was added to the Cinema Department\u0022 in 1972, making it largely based on the teaching of independent underground filmmakers. Budget cuts forced the Department to establish a \u0022very strict system of pre-requisites for higher level courses.\u0022 Like contemporary abuses of faculty teaching time-base media \u0022the three members of the Department teach much more than the usual professional course load.\u0022 The curriculum eventually included videomaking as well as filmmaking, and cinema analysis. Other visiting filmmakers and videomakers throughout the years included Peter Kubelka, Vincent Grenier, Barbara Buckner, Saul Levene, Dan Barnett, Graduates of the Department include Alan Berliner, Peer Bode, Neil Zusman, Ariana ....., There was an extensive exhibition program, and a rigorous senior thesis requirement. 1. Robert Lowe, \u0022departmental survey cinema department-- rebels with a cause,\u0022 Pipe Dream, State University of New York at Binghamton, Vol. 4, No. 19, April 25, 1972, pg. 11. 2. Maureen Turim, \u0022Introduction,\u0022 The Electronic Gallery, S.U.N.Y. Binghamton and The Experimental Television Center, Owego, New York, page 1. The Electronic Gallery Exhibitions The Electronic Gallery, 1980 The Electronic Gallery \u0022exhibit marks the first time that the Experimental Television Center and the Department of Cinema ... coordinate[d] a full scale exhibition of process video as an ongoing installation. The initial planning of the exhibit took place in 1980, Sherry Miller, assistant director of the Experimental Television Center and [Maureen Turim] met to consider the possibility of... such a project.\u0022 \u0022\u0027The Electronic Gallery,\u0027 a course [Maureen Turim] taught in the fall of 1980 through the cinema department continued the work on this project by involving students in the planning of the exhibit. Video artists Ralph Hocking, Sherry Miller, Henry Linhart, Peer Bode and Harry [Hank] Rudolph visited the class, while the others who later were asked to show tapes in the exhibit were represented among the works screened and discussed.\u0022 The \u0022catalog [was] a result of [a] semester\u0027s work [by Turim\u0027s students.] The essays were written by graduate students who participated in the course, while the design and layout was the responsibility of Kathy Zunic, Roy Harrison and Stan Kauffman. Since several artists [were] premiering tapes that were not available for analysis prior to the writing of [the] essays, some of the discussion refers to earlier works by the artists.\u0022 The following essays were part of the catalog: \u0022Art, Ideas and Video\u0022 by Donna Cesan; \u0022Perceptual Process and Processed Video Art\u0022 by Lynne Kirby; and \u0022Television Culture and Video Art\u0022 by Patricia Shores. Artists included in the exhibition were Ralph Hocking and Sherry Miller, Hank Rudolph, Henry Linhart, Shalom Gorewitz, Peer Bode, Meryl Blackman, Reynold Weidenaar, Barbara Buckner, and Gary Hill. \u0022The Electronic Gallery\u0022 was \u0022sponsored by the Cinema Department of S.U.N.Y. Binghamton and Experimental Television Center, Owego, New York with support from The Media Bureau\u0022 of the New York State Council on the Arts. (1) 1. Maureen Turim, \u0022Introduction,\u0022 The Electronic Gallery, S.U.N.Y. Binghamton and Experimental Television Center, Owego, New York, page 1. The Electronic Gallery 1983 University Art Gallery, Binghamton University The Electronic Gallery 1983 catalog was \u0022published in conjunction with an exhibition at the University Art Gallery, State University of New York at Binghamton, March 2-March 25, 1983. The exhibition\u0022 was \u0022made possible through a grant from the Media Bureau of the New York State Council on the Arts.\u0022 A panel discussion with the video artists was held March 25, 1983. Josephine Gear, Director of the University Art Gallery wrote the introduction. Curator and catalog essayist was Maureen Turim. Contributing curators were Ralph Hocking and Sherry Miller of the Experimental Television Center, Owego, New York. Peer Bode of the Experimental Television Center did the photography for the catalog. Chris Focht of S.U.N.Y. Binghamton did the catalog printing. \u0022The seven artists represented in [the] exhibit [were] investigating various aspects of ...formal and implicitly theoretical issues of video art. Each of them has invested a shared technological apparatus with his or her own search for visual and aural expression of philosophical queries and statements. Each produces and investigates his or her own personal obsessions and desires... They have chosen as their common appellation the term \u0027process video.\u0027 This refers to the manipulation of the graphic and temporal structure of the video image, and often the simultaneous generation of the soundtrack, through a combination of various electronic and computer devices.\u0022 Video works by Ralph Hocking and Sherleen Miller, Peer Bode, Barbara Buckner, Shalom Gorewitz, Gary Hill and Henry Coshery Linhart were presented. Still Images exhibited were by Mary Ross, Peer Bode and Ralph Hocking. (1) 1. Maureen Turim, The Electronic Gallery, University Art Gallery, S.U.N.Y. Binghamton, 1983 Cinema Department, University at Binghamton and Relationship with the Experimental Television Center -Survey of Film/Television/Video/Still Photography/Electronic Music Activity at State University of New York Campuses. John Minkowsky. 1977 Programs of the Cinema Department The philosophy of the Cinema Department is described in the following way: The Department of Cinema is devoted to the development of artists and creative thinkers in cinema. It aims at a unified sense of cinema, providing a basis for new insights and works. Specific skills of analysis and production, including those of video, are taught, but not as ends in themselves. The major program aims to produce not narrow specialists in lighting, cinematography, or film editing, but rather broadly trained artists and thinkers sensitive to a whole range of cinematic values. Students who major in cinema bring together the techniques they have learned and the values to which they have been made sensitive, in a senior thesis which consists of an independent film work or a writing about film, demonstrating creative insight and ability. The Department encourages studies in the theories and techniques of other art disciplines such as music, painting, theater, and literature. Now in its sixth year, the Department began as a cinema course taught by Professor Larry Gottheim, now Chairman, through the English Department in 1968. The film curriculum expanded to a \u0022program\u0022 of two faculty in 1969 and gained full status of an undergraduate Department offering a B.A. degree in 1970. It has since grown to the extent of having six full-time faculty and one visiting professor offering sixteen courses each year in film production, film analysis and paracinema to more than thirty majors and about six hundred total students. The most important recent developments in the Cinema Department are plans for an M.A. degree and the expansion of activities to include video. Ralph Hocking, a faculty member, offers two courses each year in video as an art, utilizing the extensive facilities of the Experimental Television Center, where he is Director. (Further information about the Experimental Television Center, a not-for-profit educational corporation separate and distinct from the State University of New York system, accompanies the Academic Courses in Video chart.) Students have constructed majors in video art through the Innovational Projects Board; they may also receive credit for independent work in still photography. Other faculty are Ken Jacobs, Daniel Barnett and Saul Levine. Facilities in film include 8 and 16mm production and projection equipment with synchronizers, horizontal and vertical editing machines, magnasync and interlock projectors and processing equipment for black-and-white film. There is also limited 35mm production equipment. Video facilities at the Experimental Television Center include black-and-white and color cameras, 1/2-inch and 1-inch decks, video projection, keyers, special effects generators, a colorizer, a synthesizer and a spatial and intensity digitizer much of this equipment is owned by the Center, some is on loan from the University. The Department screens hundreds of primarily art and feature-length narrative films each year, the Department\u0027s $2000 rental budget supplemented by the more than seventy-five films in the SUNY/Binghamton Film Archives and the screenings of the Harpur Film Society, an extra-academic organization. Along with arrangements for regular visiting professors, the Cinema Department also sponsors one-day to one month programs with several dozen visiting film and video artists each year. The Department hosted the first University-wide conference on Cinema in 1972. Professor Gottheim reports that most of the interaction of the Cinema Department with other departments in the University occurs at an informal level, with students taking a variety of other courses and faculty giving lectures in other departments. The planned M.A. Program calls for greater interrelationships of this type. The Cinema Department lists an increase in faculty/personnel as its most basic need at present. Relationship between Experimental Television Center and Cinema Dep","offset":0,"nextOffset":12000,"totalCharacters":14310,"complete":false},"rightsUrl":"https://www.videohistoryproject.org/terms-service"}