Video Product

1990
Vicki in 3:30

This title is only available on Kip Fulbeck Selected Videos: Volume Two.

1985
Video Album 1

A very chatty array of people along with still photos and a loose-tongued cab driver, make this a leisurely stroll through my social life of several years ago.

1986
Video Album 2

The viewer meets a grab-bag of gabby folks from here and abroad as I drop by to see them or they come to my apartment for tea and sympathy. You also get to visit endangered film showcases and see people who are now either deceased or divorced.

1986
Video Album 3

Curt McDowell, the director, on his feet and weaving in and out of this televised tapestry with gracious grossness and Hoosier-based hospitality.

 

1987
Video Album 5: The Thursday People

The comings and goings of the late underground filmmaker, Curt McDowell—and the people and activities that came and went along with him—are the themes that run through this existential diary of daily life. McDowell was dying from AIDS-related illnesses during the production of the diary.

“An elegy for McDowell, the videowork captures Kuchar’s mournful remembrances of his long-lasting friendship with the young filmmaker. But it also has the inquisitive charm, perverse humor, and quirky candor that places Kuchar’s visual expressions in a gritty niche all their own.”

1993
Video Alumni Report #2

In the second installment of George Kuchar’s Alumni Series, he begins with news coverage of the mudslides the month before that had resulted from the flooding documented in his Alumni Series #1. Kuchar next cleans his house in anticipation of a visit from his friend Leslie, but as he mentions not having toilet paper, the threat of mudslides continues to linger. After simulating his guest sloppily using the restroom with the aid of two balloons and some questionable unknown liquid, the two happily lounge around Kuchar’s apartment while discussing cats.

1995
Video Cannibalism

Video is introduced to the Enauênê Nauê Indians, a group still isolated in the North of Mato Grosso. An outgoing group, they respond with a surprising high-spirited performance that includes a good measure of clowning around and a re-enactment of an attack they suffered at the hands of their neighbors, the Cinta-Larga, not long ago. After growing accustomed to watching movies on video, they decide to produce their own.

Directed and photographed by Vincent Carelli.

In Enauenê-Nauê with English subtitles.

1973
Videofreex, Video Games

This two-disc title contains the following video documentation:

2008

This video considers how Lebanese photographer Hashem el Madani captured the everyday movement of crowds, friends and family with his super 8 camera. The rushes used in the five movements of this work were shot in the late 1960s and early 1970s in tourist attractions of Egypt and Lebanon.  These sites include the Beiteddine Palace, Kfarhonah, a picnic site in a pine forest in Dahr el Ramleh, and Jezzine, Madani's summer residence.

 

1989
Video in the Villages

An overview of the Video in the Villages Project, this documentary shows how four different Amazonian native groups (Nambiquara, Gavião, Tikina, and Kaiapó) have embraced video and incorporated it in the service of their projects for political and ethnic affirmation.

Directed and photographed by Vincent Carelli.

2002
Video in the Villages presents Itself

Video in the Villages presents its recent progress, its indigenous workshops for training and production. Founded in 1987, the project began with the introduction of video to indigenous communities that produced documentaries for their own purposes. In 1995, the opening of a space on educational TV in Cuiabá led to “Indigenous Program.” Since 1997, Video in the Villages has invested in the formation of the first generation of indigenous documentary filmmakers through national and regional workshops.

Directed by Mari Corrêa and Vincent Carelli; edited by Mari Corrêa.

1989
Video is Television?

Playing back "visual quotations" of everything from Poltergeist to Blade Runner, Muntadas rescans the surface of the monitor, questioning the "nature" of media—film, television, video, and image. Television emerges as the medium to eat all mediums, raising the question: Is it possible,within the context of television, to tell art from life or fact from fiction? An endless row of generic TV monitors visually evokes a hall of mirrors as the expression of the cultural homogeneity and bland abundance achieved through the dominant medium of the late 20th century.

1978
Video Locomotion (man performing forward hand leap)

"Homage to Eadweard Muybridge. A historical Muybridge photo grid is put into an electronic video signal space. Working with collected postcards, in this case, the durational photo series by the 19th century photographer Eadweard Muybridge, this video re-enacts the proto-cinema moment using two varyingly synchronized b+w video cameras and a video keyer. The movement effect is created by detuning the horizontal and vertical video sychronization of one of the video cameras. One of the video camera’s image remains still while the other drifts horizontally and vertically at varying speeds.

1993
Video Wallpaper Series

In this series I composed a series of portraits on my audio/video digital mixer, ranging from impressions of places and people to renditions of feelings their work inspired, and domestic-type gossip from the kitchen and bedroom. The gallery of images and sounds were fed into my gizmo and ground up into gourmet gruel. Includes: Isleton 3:20 Trinity 5:28 Kitchenetiquette 5:

1976
Video Weavings

Inspired by the analogy between weaving (vertical warp threads traversed by horizontal weft threads) and the construction of the television image (vertical and horizontal scans of an electron gun), Stephen Beck built the Video Weaver in 1974, and produced Video Weavings in 1976. The patterns in this tape are based on sequences of colors in dynamic mathematical progressions, inspired by non-representational Islamic art. Beck was also intrigued with the problem of synthesizing aspects of human perception.