Guerrilla Television
ゲリラ・テレビジョン / late 1960s–1980s / Style / Cinéma expérimental
A media movement in which small collectives used portable video to oppose broadcast authority and one-way communication, recording demonstrations, communities, and institutions for rapid editing and alternative circulation. Low resolution, handheld access, feedback, direct titles, and multiple viewpoints became its language.
Low-resolution portable video, trails, clipping, and dropouts / Long handheld records embedded in events / Handwritten cards, coarse electronic type, and direct time or place labels / Split screens, feedback, and reshooting that dismantle broadcast images
Entrée du dictionnaire
- Usages idéaux
- Making viewpoint and production process visible in civic media · Composing several field records with electronic titles and transmission traces
- Typographie
- State place, time, and speaker with coarse electronic type or cards; never borrow a station identity to fake authority.
- Composition
- Keep field footage primary and use split screen, reshooting, or feedback only to expose conflicting viewpoints.
- Matière
- Retain portable-video resolution, location sound, and tape loss instead of applying one uniform malfunction filter.
- Précaution
- VHS noise alone does not create counter-media. Name the makers, community, circulation, and consent, and do not imitate real stations or emergency broadcasts.
- Pour approfondir
- Raindance Corporation and Radical Software / TVTV, Ant Farm and portable video collectives / community media and counter-broadcast networks
Entrées liées
- Video Synthesis (ビデオ・シンセシス)Même famille : Cinéma expérimental.Comparer Guerrilla Television et Video Synthesis
- Conceptual Art (コンセプチュアル・アート)Effets partagés : Rebellion.Comparer Guerrilla Television et Conceptual Art
Plus de Cinéma expérimental
Poursuivez avec des styles de Cinéma expérimental, classés par effets communs.
- Direct Animation (ダイレクト・アニメーション)Effets partagés : Rebellion / Intimacy.
- Visual Music (ヴィジュアル・ミュージック)Effets partagés : Technique.
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