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作者 Barry, Melissa Marie
書名 The medium is the message: Bruce Nauman's films, videos, and video corridors, 1967--1970
國際標準書號 9781124602776
book jacket
說明 59 p
附註 Source: Masters Abstracts International, Volume: 49-05, page: 2765
Adviser: Frances Colpitt
Thesis (M.A.)--Texas Christian University, 2011
Bruce Nauman's studio performances of the late 1960s, recorded in film and video, are often interpreted in terms of the body as a sculptural material. The predominant reading of Nauman's art as "bodyworks" does not distinguish his studio performances on film from those recorded on videotape. Video's unique characteristic of simultaneity extends the meaning of these works into the psychological and beyond the purely phenomenological. Further, Nauman's shift from film to video altered his working methods, the viewing conditions of his work, and, most importantly, resulted in a change of content. I argue that in Nauman's videos the issue of surveillance, rather than the phenomenological experience of the body, figures more prominently. Ignoring the differences between the two mediums overlooks the psychological implications of his videos. One distinguishing quality of video is its instant feedback, in which an image can simultaneously be recorded on videotape and transmitted onto a television monitor. As a result, Nauman could tape his studio performance while watching himself in the monitor. Nauman later exploited video's capability of surveillance beyond monitoring his body to that of the viewer's in the watershed work Live-Taped Video Corridor (1970). Nauman's work had new significance as he shifted from working in film to video, upholding media theorist Marshall McLuhan's declaration that "the medium is the message."
School code: 0229
Host Item Masters Abstracts International 49-05
主題 Art History
Multimedia Communications
Cinema
0377
0558
0900
Alt Author Texas Christian University. College of Fine Arts
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