Foreign Correspondence: The International Super 8 Phenomenon

Related records

• Superocheros Bibliography

  Contents follow: Introduction: Superocheros by Jesse Lerner, Manifesto: 8 millimeters Versus 8 Millions, Toward a Political Cinema: The Cooperativa de Cine Marginal by Jose Carlos Mendez, Cartoons by Enrique Escalona, Hacia el 4o. Cine/ Towards a 4th Cinema by Sergio Garcia.

• Circle 8: International Forum of Super-8 Catalog Bibliography

  Painter-turned-filmmaker adopted a Sony CV open-reel video camera in the late 1960s while teaching in The Bronx and funded the purchase with a bank loan; he produced experimental videotapes including CRIPPLE and KELSEY (screened at the First Documentary Festival of Global Village) and ran a Video Journal from 1971 to 1975. After returning from Europe he bought S-8 sound equipment, produced films including RUNNER (1981), learned double-system sound editing at Lindo's in Brooklyn, composed synthesized soundtracks and offered S-8 post-production in New York to clients from New England and Latin America.

• Exit Art Chronology

  Exit Art organizes New York's first International Festival of Super-8 Film; curated by Jordi Torrent

• New Media in Late 20th-Century Art Bibliography

  Overview charts video art's emergence from cinema to Sony's Portapak (1965), which made portable video (½-inch tape) accessible to artists at US/German prices of $1,000–$3,000; by 1968 exhibitions had appeared in Japan, several European countries, Argentina, the United States and Canada. The essay documents technologies and practices—portable cameras, projection devices, feedback systems and image processing—names practitioners such as Vito Acconci, Bill Viola, Nam June Paik and Woody and Steina Vasulka, situates activity in the United States, Germany, Austria and Great Britain, and cites Rosalind Krauss's critiques (1976, 1999) and a movement toward digital, large-scale installations.

• Transnational Documentaries: A Manifesto Bibliography

  John Hess and Patricia R. Zimmermann argue for a construct of transnational documentaries as adversarial media practice to contest corporate transnational concentration, deregulation and privatization; they document activist media practices and works such as Zoned for Slavery, Walt Disney in Haiti, El Naftazteca, Spin and Sonic Outlaws and cite institutional events including the February 1, 1996 telecommunications law and the 8th MacBride Roundtable (Seoul, Aug 24–27, 1996). The manifesto situates film and media scholarship within policy, political economy and international coalition-building and calls for interdisciplinary, transnational alliances and public-space interventions; both authors teach in Ithaca College’s Department of Cinema and Photography.

• Cinema and Language. American Film Institute Monograph Series, vol. 1 Bibliography