Notes
Preface
1 A minor publishing industry of nostalgic picture books of classical Holly-
wood films and stars may have helped establish a collector’s market for such
films. One of the early distributors of classic films on video was called the
Nostalgia Merchant. On nostalgia in the 1970s, see, for instance, Lasch,
“The Politics of Nostalgia”; and Jameson, Postmodernism.
2 Moran, There’s No Place Like Home Video, 55.
3 See, for instance, Armes, On Video; Cubitt, Timeshift and Videography; and
Gray, Video Playtime; Jameson, Postmodernism, 67–96; and Berko, “Video:
In Search of a Discourse.” This work tends to conflate early industrial devel-
opment, video art, broadcast programming, music videos, and home video
under the reductively homogenizing category of “video.”
4 See Levy, ed., The vcr Age: Home Video and Mass Communication; Dobrow,
ed., Social and Cultural Aspects of vcr Use; and Gray, Video Playtime.
5 See Lardner, Fast Forward; Marlow and Secunda, Shifting Time and Space;
Wasko, Hollywood in the Information Age; Prince, A New Pot of Gold, 90–141;
Wasser, Veni, Vidi, Video; Greenberg, From Betamax to Blockbuster; and
McDonald, Video and dvd Industries.
6 A disciplinary task force viewed the use of videotape in film studies class-
rooms as a “reluctant necessity” and asserted, “The Society for Cinema
Studies believes that the integrity of the discipline is threatened by the in-
creased use of video instead of film in the classroom.” Society, “Statement,” 3
and 5. For comparisons between celluloid and video transfers, see also
Tashiro, “Videophilia,” and Prince, A New Pot of Gold, 123–32. Important col-
lections of work on video art include Handhardt, ed., Video Culture; Hall
and Fifer, Illuminating Video; and Renov and Suderberg, Resolutions. See also
more recent monographs, Rush, Video Art, and Spielman, Video.
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