Difference between revisions of "Video activism"

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In 1991, Rodney King, an Afro-American living in Los Angeles was stopped by the police on the road, on the grounds that he was riding his motorcycle over the speed regulations and he was beaten in the middle of the street. This event was filmed by a video camera placed in the balcony of a nearby mass housing dwelling. The power of the video camera was recognized for the first time, the rapid dissemination of those images all around the world led to street riots and to bringing the policemen to trial.  
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[[Image:Eleanor_Boyer_and_Karen_Peugh.jpg|thumb|350px|[[Eleanor Boyer]] (left) and Karen Peugh. [https://mediaburn.org/collections/eleanor-boyer/ (Source)] ]]
  
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In the beginning of the 1990's video cameras became smaller, cheaper and began to be integrated into mobile phones. These developments combined with editing programs that could be used in home PC's led to the rise of "video activism" for social justice on par with the empowerment of civil society. Many pioneering organizations such as; Paper Tiger, Whispered Media, Witness, Appalshop in the USA; Chiapas Media Project in Mexico; CEFREC in Bolivia; Drishti Media Collective, Indian People's Media Collective Kritika in India; Undercurrents, I-contact video network in the UK; Labor News Production in South Korea; INSIST in Indonesia; Candida in Italy, and Karahaber and Videa in Turkey employed video as an indispensable part of their various campaigns against violations of human rights, environment and minority rights.  
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[[Image:Delphine Seyrig Maria Schneider and Carole Roussopoulos 1975.jpg|thumb|350px|[[Delphine Seyrig]], Maria Schneider and Carole Roussopoulos during the shooting of ''Sois belle et tais-toi'', 1975.]]
  
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The anti-globalization movements that started in Seattle in 1999, ignited the 'independent media against mainstream media' movement organized on the Internet, a movement in which people could freely recount their stories. The rapid proliferation of the Internet, the rise in video sharing and increase in data transfer speed, put media activists into the agenda. These were people fighting against violations of rights, recording events with video cameras, and spreading images and news of events or actions censored by mainstream media, on the Internet.
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[[Image:Wendy_Appel_and_Rita_Ogden_c1972.jpg|thumb|350px|Wendy Appel and Rita Ogden filming with Sony Portapak, c.1972. Photo: Paul Goldsmith. Photo courtesy of [[TVTV]].]]
  
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"From "Kinok" to "Videok"
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<div class="lede">For an activist, alternative, artist, community, experimental, guerrilla and tactical video and television</div>
  
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The roots of that kind of video making can be seen as far back as the 1920's, to the times of groups that produced news and images via their reporter networks that were called "Kinok" by the Soviet filmmaker Dziga Vertov. Their work was based on mechanistic and collective image production principles, they performed in an uncontrolled flow without any division of labor. The British social documentary of the 1930's under the leadership of Grierson, documenting daily lives and ordinary problems; Cinema Verité movement of 1960's of Jean Rouch; 'Group Medvedkine' of Chris Marker 'filming ' the factory strikes by workers themselves, and the collective production of those films at the end of the1960's; and the "Genç Sinema Hareketi" (Young Cinema Movement) in 1970's Turkey that documented social events and actions can all be connected to today's video activism movement.
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==Projects, collectives, artists, activists==
  
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In fact, since the introduction of the portable video cameras in the mid-1960's, video art and video activism have existed side by side. This is a period in which the first video artists and activists went into the streets with their cameras in hand, claiming that the 'guerilla' tactics of this tool would eventually change television. The birth of video intersected the apex of idealism of cultural change and societal pluralism; this gave the video movement its first energy charge leading to the diversity seen today. For many people, video was a tool representing the 'revolt' against the institution of commercial television. The activists simply believed that the television revolution would finally be realized, just by giving cheap portable cameras to people, and asking them to express themselves using these tools. Then the term 'guerilla television', referring to specific activist video recordings, with all its aggressive and destructive connotations entered the English language. The concept of guerilla television is defined by the inventor of the term, Raindance member Michael Shamberg, as: "Guerrilla Television is grassroots television. It works with people, not from above them. On a simple level, this is no more than 'do-it-yourself-TV.' But the context for that notion is that survival in an information environment demands information tools."
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<DynamicPageList>
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category            = Video activism
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ordermethod          = sortkey
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order                = ascending
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Thus, video activist groups and guerilla television experiments of the 1970's began, such as; Videofreex, Riandance, Global Village and People's Video Theatre, Ant Farm, Video Free America and Optic Nevre. For instance, Videofreex worked on creating an alternative history via television by focusing on documenting counter-cultures, just like many video activist groups today. The examples of their filming include; anti-war protests, the Black Panthers, communes, Chicago 7 case c. They did not document events in a selective manner; they were actually collecting news based on the idea of real-time filmmaking which with no editing being employed was more "real", involving a kind of authenticity, closeness, compared with other imaging tools. Although the members of those collectivities were artists (the majority of whom are still producing today), interested in collecting alternative news, wishing to display the problems of media and technology and taking a pluralistic approach to documenting history, they were opposed to the debates about video within the art scene. Since art as seen by the Western culture, supports the superiority of the individualistic creator and the idea of masterpieces, closely related to the material value of a work of art, therefore, collectivism was not easily accepted.
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''also'': Whispered Media, Witness, [https://appalshop.org Appalshop] in the USA [https://sagepub.com/ency/edvol/socialmovement/chpt/appalshop-united-states]; Chiapas Media Project in Mexico; Drishti Media Collective, Indian People's Media Collective Kritika in India; Undercurrents, I-contact video network in the UK; Labor News Production in South Korea; INSIST in Indonesia; Karahaber and Videa in Turkey
  
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"Video-maker as Producer"
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==Platforms, projects, collections, resources==
  
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Today, many methods/formations such as 'Witness Video' are working with various human rights organizations around the world. Examples of this collaboration can be seen in the Group Medvedkine movement of Chris Marker of the 1960's when striking factory workers were transformed into filmmakers; or the Guerilla Television experience of Michael Shamberg where he dreamt of converting the audience-victims into reporters. These video-makers focus on issues such as; child soldiers in the Congo Democratic Republic; juvenile prison reforms in the USA; mass forced migration and human rights violations in Burma; slave labor in Brazil, and torture in Mexico. They are trying to change the world using video by providing victims with equipment and tools so they can tell their own stories. They do not film the victims, but they help the victims to produce their own images.
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<onlyinclude>{{#ifeq:{{{transcludesection|community-television-platforms}}}|community-television-platforms|
  
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Ege Berensel
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* [[858.ma]], an archive of resistance. Created in 2018 by the Mosireen Collective, a nonprofit media collective, as an “initiative to make public all the footage shot and collected since 2011” regarding the Egyptian Revolution.
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* [[bak.ma]], a participatory video archiving site seeking to create a living memory of the social movements. Created in Turkey in 2014.
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* [https://node.uchicago.edu/guerrilla-television Guerrilla Television Network] "provides an access point to thousands of videos from archival collections all over the world. These collections include the work of a diverse, varied community of artists, activists, and journalists made on videotape during the Guerrilla Television movement, roughly 1968-1980." Project led by Media Burn Archive and University of Chicago.
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* [http://web.archive.org/web/20191028171546/http://www.the-lcva.co.uk/items?splash=true London Community Video Archive] (LCVA), preserves the work of the Community Video movement in the 1970s and 80s, in London and the South East. Based at Goldsmiths University and the BFI. [https://www.youtube.com/c/LondonCommunityVideoArchive YouTube]. [https://vimeo.com/thelcva Vimeo].
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* [http://maqamtv.com/ Maqam.tv], an itinerant broadcast channel airing video content from North Africa and South to Central Asia. [https://beursschouwburg.be/en/events/tashweesh-festival-2022/maqam/]
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* [https://mediaburn.org/watch-videos-from-our-collection11/ Media Burn Archive], Chicago. The website features a digital archive of videos from the 1950s onward. "The collection forms an unmatched portrait of 20th and 21st century American life, created by individuals with a deeply rooted commitment to increasing our understanding of other human beings and communities." [https://mediaburn.org/blog/resurrecting-the-1970s-guerrilla-television-movement/] [https://news.uchicago.edu/story/hidden-history-guerrilla-television-uchicago-scholars-preserve-decades-old-videos]
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* [https://guerrillatv.bampfa.berkeley.edu/ Preserving Guerilla Television: TVTV], BAMPFA, University of California. [https://digicoll.lib.berkeley.edu/search?&sf=title&so=a&rm=&p=collection%3A%27Top%20Value%20Television%20papers%27&ln=en Digital collections]. [https://www.berkeleyside.org/2018/07/18/digitization-project-reveals-unseen-guerrilla-footage-that-revolutionized-tv]
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* [https://tv-free-europe.eu/ TV Free Europe], artist project, 2020-2021. "A Tele- Theatre Vision, an international collaboration encompassing the fields of performance and multimedia art, cultural heritage and art education. What happened to the hopes of freedom after the end of the Cold War? What does free Europe mean today? What can liberate you at all in times of a global pandemic? And what’s up with the borders?" With [[Pneuma Szöv.]] a.o.,
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* [https://ukrainatv.streamart.studio/ UKRAiNATV], "an experimental, collective and cross-sectoral project in the field of media culture. It deals with new relational strategies and new HYBRiD production forms in the field of hybrid PRESENCE. It’s an Internet TV station specialized in building live audiovisual bridges, a multi-channel streaming hub, recording studio and glocal network, all at once." Est. 2022. Affiliated with the Faculty of Intermedia of the Academy of Fine Arts Kraków.
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* [https://vangoghtv.hs-mainz.de Van Gogh TV] research project, 2018-2021. [https://vangoghtv.hs-mainz.de/?page_id=89066&lang=en Exhibition (2021)]. [https://piazza-virtuale.common.garden/ Online companion].
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* [http://videoactivism.net/en/ Video Activism 2.0], research project on the attention strategies of video activism on the social web.
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* [https://verein.videonale.org/en/projekte/video-digest-magazine Video Digest Magazine], 2023. The online magazine "initiated by [[Videonale]] and [[imai|IMAI - Inter Media Art Institute]] takes up impulses from historical video magazines (such as [[Infermental]], [[Video Congress]] or [[Zapp Magazine]]) and uses a series of dialogically presented current works to examine the resistant potential of moving images in various communication channels from a contemporary perspective. The newly commissioned videos, performances and zines by Ji Su Kang-Gatto, Ayesha Hameed, Becket MWN, Rangwane and Leyla Yenirce (in collaboration with Mazlum Nergiz) make use of diverse languages and strategies of protest and mobilization (but also of apathy and resignation) and reflect a current video landscape shaped by on-demand smart TVs, YouTube/Youku, TikTok and Instagram." [[Media:Video_Digest booklet 2023.pdf|Booklet PDF]].
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}}</onlyinclude>
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==Films==
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* ''Spin'', dir. Brian Springer, 1995, 57 min. Pirated satellite feeds revealing U.S. media personalities' contempt for their viewers. [https://www.imdb.com/title/tt0114512/] [http://web.archive.org/web/20160213122106/www.regardingspectatorship.net/tactical-television-movement-media-in-the-nineties/]
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* ''[https://www.youtube.com/watch?v=TId3AIvfXL4 Videogramme einer Revolution]'' [Videograms of a Revolution], dir. [[Harun Farocki]] and Andrei Ujica, 1992, 106 min. 16 mm (transferred from video). (link to a version with ES subs)
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* ''Storytelling Method no. 4: Two or More; Media as Process'', dir. [[Alex Martinis Roe]] and [[Alexandra Juhasz]], 2025, 20 min. Navigates the archives of Alexandra Juhasz to uncover feminist media methods developed within the NYC Community Video Movement in the 90s. Juhasz’s methods look to collectively address how women were affected by AIDS and to construct histories of queer-feminist media activism. [https://transmediale.de/de/artwork/storytelling-method-no-4-two-or-more-media-as-process]
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==Publications==
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<gallery mode=packed heights=350px>
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Defiant_Muses_Delphine_Seyrig_and_the_Feminist_Video_Collectives_in_France_1970s-1980s_2019.jpg|''Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France, 1970s-1980s'', 2019, [https://monoskop.org/log/?p=22021 Log], [[Media:Defiant_Muses_Delphine_Seyrig_and_the_Feminist_Video_Collectives_in_France_1970s-1980s_2019.pdf|PDF]].
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Boyle_Deirdre_Subject_to_Change_Guerrilla_Television_Revisited 1997.jpg|Deirdre Boyle, ''Subject to Change: Guerrilla Television Revisited'', 1997, [http://monoskop.org/log/?p=406 Log].
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Shamberg Michael Raindance Corporation Guerrilla Television 1971.jpg|Michael Shamberg, Raindance Corporation, ''Guerrilla Television'', 1971.
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Radical Software 2 1 Changing Channels Winter 1972.jpg|''[[Radical Software]]'', 1970-1974.
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</gallery>
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===2020s===
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<div class="twocol blocks">
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* Andrew Roach, ''[https://communitymedia.network/ Community Media: A Handbook for Revolutions in DIY TV]'', 2023. [https://retro.social/@ajroach42/110616713298380952 Toot].
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* [[Giovanna Zapperi]], [https://doi.org/10.5399/uo/konturen.12.0.4914 "From Acting to Action: Delphine Seyrig, Les Insoumuses, and Feminist Video in 1970s France"], ''Konturen'' 12: "Feminism, Theory, Film: Critical Intersections in the Practice and Theorization of Experimental Filmmaking since the 1970s", ed. Sonja Boos, Apr 2022, pp 24-46.
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* Francesco Spampinato, ''[http://libgen.is/book/index.php?md5=0A74DBFACEC12A3292639EB9912EB3E9 Art vs. TV: A Brief History of Contemporary Artists' Responses to Television]'', Bloomsbury Academic, 2021, 368 pp. [https://www.bloomsbury.com/us/art-vs-tv-9781501370571/ Publisher]. Review: [https://doi.org/10.1111/1467-8365.12740 Day] (Art Hist).
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* Sandra Ristovska, ''[https://doi.org/10.7551/mitpress/12244.001.0001 Seeing Human Rights: Video Activism as a Proxy Profession]'', MIT Press, 2021, 288 pp, [[Media:Ristovska_Sandra_Seeing_Human_Rights_Video_Activism_as_a_Proxy_Profession_2021.epub|EPUB]]. [https://mitpress.mit.edu/books/seeing-human-rights]
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</div>
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===2010s===
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<div class="twocol blocks">
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* {{a|DefiantMuses}} ''[https://monoskop.org/log/?p=22021 Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France, 1970s-1980s]'', eds. [[Giovanna Zapperi]], [[Nataša Petrešin-Bachelez]] and Mercedes Pineda, Madrid: Museo Reina Sofía, 2019, 231 pp. [https://www.museoreinasofia.es/en/exhibitions/defiant-muses Exhibition]. [https://radio.museoreinasofia.es/en/delphine-seyrig-feminist-video-collectives Podcast]. [https://www.museoreinasofia.es/en/buscar?bundle=%28video%20OR%20audio%20OR%20radio%29&f%5B0%5D=bundle%3Avideo&related=68623 Video interviews].
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** ''[https://monoskop.org/log/?p=22021 Musas insumisas: Delphine Seyrig y los colectivos de vídeo feminista en Francia en los 70 y 80]'', Madrid: Museo Reina Sofía, 2019, 231 pp. {{es}}
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* Freya Schiwy, ''[http://library.memoryoftheworld.org/#/book/4c3ba0f8-38a4-4f9b-bad3-c87ebd54305d The Open Invitation: Activist Video, Mexico, and the Politics of Affect]'', University of Pittsburgh Press, 2019.
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* Freya Schiwy, [[Media:Schiwy Freya 2019 Thresholds of the Visible Activist Video Militancy and Prefigurative Politics.pdf|"Thresholds of the Visible: Activist Video, Militancy, and Prefigurative Politics"]], ''ARTMargins'' 8:3, Oct 2019, pp 7-28. [https://doi.org/10.1162/artm_a_00242]
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* Michael Goddard, ''[http://library.memoryoftheworld.org/#/book/e6873b0f-14e7-4e65-8e07-6e108f40cfda Guerrilla Networks: An Anarchaeology of 1970s Radical Media Ecologies]'', Amsterdam University Press, 2018, 358 pp. [https://en.aup.nl/download/9789048527533%20ToC%20+%20Intro.pdf TOC & Introduction]. [http://en.aup.nl/books/9789089648891-guerrilla-networks.html]. Review: [https://www.hsozkult.de/publicationreview/id/rezbuecher-29283 Gloor] (H-Soz-Kult).
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* Gülüm Şener, Nihan Gider Işıkman (eds.), ''Video Aktivizmde. Kavramlar Sorunlar Uygulamalar'', Ankara: um:ag Yayınları, 2018, 230 pp. [http://www.umag.org.tr/tr/yayinevi/200/medya-ve-gazetecilik-dizisi/146/videoaktivizmde-kavramlar-sorunlar-uygulamalar Publisher]. [https://books.google.com/books?id=vyyDDwAAQBAJ&pg=PA1] {{tr}}
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* [[Ege Berensel]] (ed.), ''Video'nun Eylemi'', Istanbul: Alef Yayinevi, 2017, 238 pp. [https://www.nadirkitap.com/videonun-eylemi-derleyen-ege-berensel-kitap10662622.html] {{tr}}
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* Chris Robé, ''[https://monoskop.org/log/?p=22677 Breaking the Spell: A History of Anarchist Filmmakers, Videotape Guerrillas, and Digital Ninjas]'', Oakland, CA: PM Press, 2017, x+469 pp.
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* [[Brian Holmes]], [http://web.archive.org/web/20160213122106/www.regardingspectatorship.net/tactical-television-movement-media-in-the-nineties/ "Tactical Television. Movement Media in the Nineties"], ''Regarding Spectatorship'', 2015.
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* Kris Paulsen, [http://amodern.net/article/half-inch-revolution/ "Half-Inch Revolution: The Guerrilla Video Tape Network"], ''Amodern'' 2, Oct 2013.
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* Sara Chapman, [https://sci-hub.st/10.5406/jfilmvideo.64.1-2.0042 "Guerrilla Television in the Digital Archive"], ''Journal of Film and Video'' 64:1-2, Spring/Summer 2012, pp 42-50.
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* Stephen Partridge, [https://monoskop.org/images/3/32/Rewind_British_Artists_Video_of_the_1970s_and_1980s_2012.pdf#page=85 "Artists' Television: Interruptions - Interventions"], in ''Rewind: British Artists' Video of the 1970s and 1980s'', eds. Sean Cubitt and Stephen Partridge, John Libbey, 2012, pp 75-90.
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* ''Journal of Film and Video'' 64(1-2): "Early Video History", ed. Elizabeth Coffman, Spring/Summer 2012. [https://sci-hub.st/10.5406/jfilmvideo.64.1-2.0001 TOC].  [https://www.jstor.org/stable/10.5406/jfilmvideo.64.1-2.issue-1-2]
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* William Merrin, [[Media:Merrin William 2012 Still Fighting the Beast Guerrilla Television and the Limits of YouTube.pdf|"Still Fighting “the Beast”: Guerrilla Television and the Limits of YouTube"]], ''Cultural Politics'' 8:1, Mar 2012, pp 97-119.
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* [[Ege Berensel]], [http://www.goethe.de/ins/tr/lp/prj/art/med/str/en9835055.htm "From Guerilla Television to Video-Activism, from Witness Video to Media-Activism: How to Resist Using Video"], ''Goethe.de'', 2012.
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* Stéphanie Jeanjean, [https://sci-hub.st/10.1086/661606 "Disobedient Video in France in the 1970s: Video Production by Women’s Collectives"], ''Afterall'' 27, Summer 2011, pp 5-16.
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* Nancy Cain, ''Video Days and What We Saw Through the Viewfinder'', Palm Springs, CA: Event Horizon Press, 2011.
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</div>
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===2000s===
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<div class="twocol blocks">
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* ''[[Media:Videokronik Aktivisme Video dan Distribusi Video di Indonesia 2009.pdf|Videokronik: Aktivisme Video dan Distribusi Video di Indonesia]]'', Yogyakarta: KUNCI Cultural Studies Center, and Collingwood: EngageMedia, 2009, 70 pp. [https://www.kunci.or.id/collections/videochronic/ Publisher]. {{id}}
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** ''[[Media:Videochronic Video Activism and Video Distribution in Indonesia 2009.pdf|Videochronic: Video Activism and Video Distribution in Indonesia]]'', Yogyakarta: KUNCI Cultural Studies Center, and Collingwood: EngageMedia, 2009, 68 pp. [https://www.kunci.or.id/collections/videochronic/ Publisher].
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* Jesse Drew, [https://monoskop.org/images/b/be/Stimson_Blake_Sholette_Gregory_eds_Collectivism_after_Modernism_The_Art_of_Social_Imagination_after_1945_2007.pdf#page=113 "The Collective Camcorder in Art and Activism"], in ''[https://monoskop.org/log/?p=232 Collectivism After Modernism: The Art of Social Imagination After 1945]'', eds. Blake Stimson and Gregory Sholette, Minneapolis: University of Minnesota Press, 2007, pp 95-113.
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* Carolyn Faber, Jakob Jakobsen, ''Guerilla Television and Activist Video: A View from the Last 35 Years'', Copenhagen: Copenhagen Free University, 2007, 56 pp. [http://www.copenhagenfreeuniversity.dk/weinberg.html Excerpt], [http://www.halfletterpress.com/guerrilla-television-and-activist-video-a-view-from-the-last-35-years/]. Booklet with an interview with tv-pioneer Tom Weinberg - by Carolyn Faber, documents from the Media Burn Archive and a Guerilla Television Lexicon.
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* Carlos Fernandez, [[Media:Fernandez Carlos 2007 Movements and Militant Media Communications Technology and Latin American Grassroots Politics.pdf|"Movements and Militant Media: Communications Technology and Latin American Grassroots Politics"]], in ''Realizing the Impossible: Art Against Authority'', eds. Josh MacPhee and Erik Reuland, AK Press, 2007, pp 229-235.
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* [[Sher Doruff]], with [[Nancy Mauro-Flude]] (eds.), ''[https://monoskop.org/log/?p=3661 Connected! LiveArt]'', Amsterdam: Waag Society, Sep 2005, 160 pp. "The Connected! Programme spanned a two year period from January 2003 to January 2005. It officially concluded with a celebratory Birthday party for Art in the Theatrum Anatomicum of [[Waag Society]], the local ‘home’-base of many Connected! projects. Although most of the people present at that event agreed with Federico Bonelli’s assessment “that art could have committed suicide in 1984” – the research and the show goes on."
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* Sara Chapman, [https://www.smecc.org/alternative_television_-chicago.htm "Alternative Television: A Short History of Early Video Activism in Chicago"], 2005. BA thesis.
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* [[DeeDee Halleck]], ''Hand-Held Visions: The Uses of Community Media'', Fordham University Press, 2001, 486 pp, [https://archive.org/details/handheldvisionsi0000hall/ IA]. [https://www.fordhampress.com/9780823221011/hand-held-visions/ Publisher].
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* Laura Stein, [https://nyu.manifoldapp.org/system/resource/c/4/3/c43615db-659b-41e0-b060-567e0e6e41e6/attachment/c5e93223229beb57d0b351b7a2adcf40.pdf "Access Television and Grassroots Political Communication in the United States"], in ''[https://libgen.is/book/index.php?md5=D4B9CC8CE811C9782222BFEEE1BD36E1 Radical Media: Rebellious Communication and Social Movements]'', ed. J. D. H. Downing, Sage, 2001, pp 299-324.
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</div>
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===1990s===
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<div class="twocol blocks">
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* [[Deirdre Boyle]], ''[https://monoskop.org/log/?p=406 Subject to Change: Guerrilla Television Revisited]'', Oxford University Press, 1997, 286 pp, [[Media:Boyle_Deirdre_Subject_to_Change_Guerrilla_Television_Revisited.pdf|PDF]].
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* [[Alexandra Juhasz]], ''[[Media:Juhasz Alexandra AIDS TV Identity Community and Alternative Video 1995.pdf|AIDS TV: Identity, Community, and Alternative Video]]'', Duke University Press, 1995, 316 pp. [https://alexandrajuhasz.com/books/aids-tv/ Author]. [https://www.dukeupress.edu/aids-tv Publisher].
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* [[Alexandra Juhasz]], [[Media:Juhasz Alexandra 1994 So Many Alternatives The Alternative AIDS Video Movement Part 1.pdf|"So Many Alternatives: The Alternative AIDS Video Movement, Part 1"]], ''Cineaste'' 20:4, 2 Nov 1994, pp 32-41; [[Media:Juhasz Alexandra 1994 So Many Alternatives The Alternative AIDS Video Movement Part 2.pdf|Part 2]], ''Cineaste'', 28 Nov 1994, pp 37-39; [[Media:Juhasz Alexandra 1994 2002 So Many Alternatives The Alternative AIDS Video Movement.pdf|repr. in]] ''From ACT UP to the WTO'', eds. Ben Shepard and Ronald Hayduk, London: Verso, 2002, pp 298-305. [https://alexandrajuhasz.com/article-archive-doc/so-many-alternatives-part-1/]
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* [[Tjebbe van Tijen]], [[Media:van Tijen Tjebbe 1993 A Context for Collecting the New Media.pdf|"A Context for Collecting the New Media"]], in ''Next 5 Minutes Video Catalogue: Catalogue of Videotapes Shown During the Festival on Tactical Television held in Paradiso Amsterdam, 8-10 January 1993'', eds. Bas Raijmakers and Tjebbe van Tijen, Amsterdam: International Institute of Social History, 1993.
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* Wolfgang Stickel, ''[[Media:Stickel Wolfgang Zur Geschichte der Videobewegung 1991 2014.pdf|Zur Geschichte der Videobewegung: politisch orientierte Medienarbeit mit Video in den 70er und 80er Jahren: am Beispiel der Medienwerkstatt Freiburg und anderer Videogruppen und Medienzentren in der Bundesrepublik]]'', Freiburg: Pädagogische Hochschule Freiburg, 1991; corr.ed., 1992; 2014, 187 pp. Master's thesis. [http://medienwerkstatt-freiburg.de/wp-content/uploads/2018/11/MW-Geschichte.pdf Excerpt]. {{de}}
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</div>
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===1970s-1980s===
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<div class="twocol blocks">
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* Martha Gever, [[Media:Gever_Martha_1983_Video_Politics_Early_Feminist_Projects.pdf|"Video Politics: Early Feminist Projects"]], ''Afterimage'', Summer 1983, pp 25-27. [https://www.eai.org/supporting-documents/303/w.1236.0]
 +
 
 +
* [[Michael Shamberg]], [[Raindance Corporation]], ''Guerrilla Television'', New York, Chicago, San Francisco: Holt Rinehart and Winstin, 1971, 108 pp. [http://archive.neural.it/init/default/show/1964 TOC]. [https://www.radicalsoftware.org/volume1nr5/pdf/VOLUME1NR5_0120.pdf Ad]. [http://blogs.evergreen.edu/publicaccesstelevision/2017/10/02/guerilla-television-by-michael-shamberg/ Review]. [http://letsremake.info/PDFs/guide_2nd_edition.pdf#page=11] [https://aaaaarg.fail/thing/5a71f6669ff37c3f7b09f921] [https://archive.org/details/ETC3143/]
 +
 
 +
* ''[[Radical Software]]'', 11 issues, eds. Beryl Korot, Phyllis Segura, and Ira Schneider, New York: Raindance Corporation (later Raindance Foundation with Gordon and Breach Publishers), 1970-1974.
  
−
* Ege Berensel, [http://www.goethe.de/ins/tr/lp/prj/art/med/str/en9835055.htm "From Guerilla Television to Video-Activism, from Witness Video to Media-Activism: How to Resist Using Video"], ''Goethe.de'', 2012
 
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==Pages==
 
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<div class="dpl" style="-moz-column-count:3; -webkit-column-count:3; column-count:3;">
 
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<DynamicPageList>
 
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category            = Video activism
 
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ordermethod          = sortkey
 
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order                = ascending
 
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</DynamicPageList>
 
 
</div>
 
</div>
  
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==Literature==
+
==Events==
−
* Michael Shamberg, Raindance Corporation, ''Guerrilla Television'', New York, Chicago, San Francisco: Holt Rinehart and Winstin, 1971. [http://archive.neural.it/init/default/show/1964]
+
 
−
* Deidre Boyle, ''Subject to Change: Guerrilla Television Revisited'', Oxford University Press, 1997.  
+
* [https://www.carriagetrade.org/on-television-1 On Television], exhibition, Carriage Trade, New York, 10 October 2024-26 January 2025. With Ant Farm, Gretchen Bender, Skip Blumberg, Eli Coplan, Stan Douglas, Barbara Ess, Harun Farocki, Lee Friedlander, Takeshi Murata, Muntadas and Reese, Radical Software, Aldo Tambellini, Not Channel Zero.
−
* Nancy Cain, ''Video Days and What We Saw Through the Viewfinder'', Palm Springs: Event Horizon Press, 2011.
+
 
−
* Ege Berensel, [http://www.goethe.de/ins/tr/lp/prj/art/med/str/en9835055.htm "From Guerilla Television to Video-Activism, from Witness Video to Media-Activism: How to Resist Using Video"], ''Goethe.de'', 2012
+
* [https://heirloom-caa.org/en/program/public-service-television-as-scene-for-experimentality Public Service Television as Scene for Experimentality], seminar, Heirloom, Copenhagen, 14 September 2024.
 +
 
 +
* [https://mediaburn.org/blog/guerrilla-television-program/ Guerrilla Television: The Revolutions of Early Independent Video], symposium, University of Chicago’s Cobb Hall 307, Chicago, 19-21 April 2024. Presented by Media Burn, the University of Chicago’s Cinema and Media Studies Department, and the School of the Art Institute’s Video Data Bank. [https://mediaburn.org/events/guerrilla-television-the-revolutions-of-early-independent-video/] [https://cms.uchicago.edu/guerrilla-television-revolutions-early-independent-video]
 +
 
 +
* [https://verein.videonale.org/en/projekte/video-digest Video Digest], exhibition, Moltkerei Cologne, 25 November-10 December 2023. An exh. of newly commissioned videos, performances and zines, together with issues of the historical video magazines [[Infermental]], [[Video Congress]] and [[Zapp Magazine]]. Curators: Miriam Hausner, Nele Kaczmarek, Tasja Langenbach. Concept: Tasja Langenbach, Linnea Semmerling. [[Media:Video_Digest booklet 2023.pdf|Booklet PDF]].
 +
 
 +
* [https://ravenrow.org/exhibitions/people-make-television People Make Television], exhibition, Raven Row, London, 28 January-26 March 2023. Curated by Lori E. Allen, William Fowler, Matthew Harle and Alex Sainsbury. [https://soundcloud.com/ravenrow/community-cable-television-in-the-1970s Panel] (audio, 75 min).
 +
 
 +
* [https://www.t-e-s-t-c-a-r-d.com/ Testcard], programme of artists moving-image that takes the format of a 24-hour TV variety show which included a combination of live and pre-recorded material to draw on the history of radical and public broadcasting, open publishing and transmission, 24-25 September 2022. Developed by Nastassja Simensky and Anneke Kampman.
 +
 
 +
* [http://videoactivism.net/en/conference-berlin-2017/ The Power of Activist Videos], conference, ICI Berlin, 12-13 May 2017. Organised by Jens Eder, Britta Hartmann and Chris Tedjasukmana.
 +
 
 +
* [http://videovortex10.net Video Vortex #10 Istanbul: Art, Activism, Archive], Istanbul, 19-20 September 2014. [https://networkcultures.org/videovortex/past-events/events/]
  
 
==See also==
 
==See also==
−
* [[Video]]
+
 
 +
[[Video art]], [[Live video]], [[Tactical media]], [[Community radio]], [[Community servers]], [[Art and activism]]
  
  
−
{{Media art and culture}}
+
{{Art and culture}}
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__NOTOC__
 

Latest revision as of 18:24, 21 April 2025

Eleanor Boyer (left) and Karen Peugh. (Source)
Delphine Seyrig, Maria Schneider and Carole Roussopoulos during the shooting of Sois belle et tais-toi, 1975.
Wendy Appel and Rita Ogden filming with Sony Portapak, c.1972. Photo: Paul Goldsmith. Photo courtesy of TVTV.
For an activist, alternative, artist, community, experimental, guerrilla and tactical video and television

Projects, collectives, artists, activists[edit]

also: Whispered Media, Witness, Appalshop in the USA [1]; Chiapas Media Project in Mexico; Drishti Media Collective, Indian People's Media Collective Kritika in India; Undercurrents, I-contact video network in the UK; Labor News Production in South Korea; INSIST in Indonesia; Karahaber and Videa in Turkey

Platforms, projects, collections, resources[edit]

  • 858.ma, an archive of resistance. Created in 2018 by the Mosireen Collective, a nonprofit media collective, as an “initiative to make public all the footage shot and collected since 2011” regarding the Egyptian Revolution.
  • bak.ma, a participatory video archiving site seeking to create a living memory of the social movements. Created in Turkey in 2014.
  • Guerrilla Television Network "provides an access point to thousands of videos from archival collections all over the world. These collections include the work of a diverse, varied community of artists, activists, and journalists made on videotape during the Guerrilla Television movement, roughly 1968-1980." Project led by Media Burn Archive and University of Chicago.
  • Maqam.tv, an itinerant broadcast channel airing video content from North Africa and South to Central Asia. [2]
  • Media Burn Archive, Chicago. The website features a digital archive of videos from the 1950s onward. "The collection forms an unmatched portrait of 20th and 21st century American life, created by individuals with a deeply rooted commitment to increasing our understanding of other human beings and communities." [3] [4]
  • TV Free Europe, artist project, 2020-2021. "A Tele- Theatre Vision, an international collaboration encompassing the fields of performance and multimedia art, cultural heritage and art education. What happened to the hopes of freedom after the end of the Cold War? What does free Europe mean today? What can liberate you at all in times of a global pandemic? And what’s up with the borders?" With Pneuma Szöv. a.o.,
  • UKRAiNATV, "an experimental, collective and cross-sectoral project in the field of media culture. It deals with new relational strategies and new HYBRiD production forms in the field of hybrid PRESENCE. It’s an Internet TV station specialized in building live audiovisual bridges, a multi-channel streaming hub, recording studio and glocal network, all at once." Est. 2022. Affiliated with the Faculty of Intermedia of the Academy of Fine Arts Kraków.
  • Video Activism 2.0, research project on the attention strategies of video activism on the social web.
  • Video Digest Magazine, 2023. The online magazine "initiated by Videonale and IMAI - Inter Media Art Institute takes up impulses from historical video magazines (such as Infermental, Video Congress or Zapp Magazine) and uses a series of dialogically presented current works to examine the resistant potential of moving images in various communication channels from a contemporary perspective. The newly commissioned videos, performances and zines by Ji Su Kang-Gatto, Ayesha Hameed, Becket MWN, Rangwane and Leyla Yenirce (in collaboration with Mazlum Nergiz) make use of diverse languages and strategies of protest and mobilization (but also of apathy and resignation) and reflect a current video landscape shaped by on-demand smart TVs, YouTube/Youku, TikTok and Instagram." Booklet PDF.

Films[edit]

  • Spin, dir. Brian Springer, 1995, 57 min. Pirated satellite feeds revealing U.S. media personalities' contempt for their viewers. [6] [7]
  • Storytelling Method no. 4: Two or More; Media as Process, dir. Alex Martinis Roe and Alexandra Juhasz, 2025, 20 min. Navigates the archives of Alexandra Juhasz to uncover feminist media methods developed within the NYC Community Video Movement in the 90s. Juhasz’s methods look to collectively address how women were affected by AIDS and to construct histories of queer-feminist media activism. [8]

Publications[edit]

  • Defiant Muses: Delphine Seyrig and the Feminist Video Collectives in France, 1970s-1980s, 2019, Log, PDF.

  • Deirdre Boyle, Subject to Change: Guerrilla Television Revisited, 1997, Log.

  • Michael Shamberg, Raindance Corporation, Guerrilla Television, 1971.

  • Radical Software, 1970-1974.

2020s[edit]

2010s[edit]

  • Gülüm Şener, Nihan Gider Işıkman (eds.), Video Aktivizmde. Kavramlar Sorunlar Uygulamalar, Ankara: um:ag Yayınları, 2018, 230 pp. Publisher. [12] (Turkish)
  • Ege Berensel (ed.), Video'nun Eylemi, Istanbul: Alef Yayinevi, 2017, 238 pp. [13] (Turkish)
  • Journal of Film and Video 64(1-2): "Early Video History", ed. Elizabeth Coffman, Spring/Summer 2012. TOC. [14]
  • Nancy Cain, Video Days and What We Saw Through the Viewfinder, Palm Springs, CA: Event Horizon Press, 2011.

2000s[edit]

  • Carolyn Faber, Jakob Jakobsen, Guerilla Television and Activist Video: A View from the Last 35 Years, Copenhagen: Copenhagen Free University, 2007, 56 pp. Excerpt, [15]. Booklet with an interview with tv-pioneer Tom Weinberg - by Carolyn Faber, documents from the Media Burn Archive and a Guerilla Television Lexicon.
  • Sher Doruff, with Nancy Mauro-Flude (eds.), Connected! LiveArt, Amsterdam: Waag Society, Sep 2005, 160 pp. "The Connected! Programme spanned a two year period from January 2003 to January 2005. It officially concluded with a celebratory Birthday party for Art in the Theatrum Anatomicum of Waag Society, the local ‘home’-base of many Connected! projects. Although most of the people present at that event agreed with Federico Bonelli’s assessment “that art could have committed suicide in 1984” – the research and the show goes on."

1990s[edit]

  • Tjebbe van Tijen, "A Context for Collecting the New Media", in Next 5 Minutes Video Catalogue: Catalogue of Videotapes Shown During the Festival on Tactical Television held in Paradiso Amsterdam, 8-10 January 1993, eds. Bas Raijmakers and Tjebbe van Tijen, Amsterdam: International Institute of Social History, 1993.

1970s-1980s[edit]

  • Radical Software, 11 issues, eds. Beryl Korot, Phyllis Segura, and Ira Schneider, New York: Raindance Corporation (later Raindance Foundation with Gordon and Breach Publishers), 1970-1974.

Events[edit]

  • On Television, exhibition, Carriage Trade, New York, 10 October 2024-26 January 2025. With Ant Farm, Gretchen Bender, Skip Blumberg, Eli Coplan, Stan Douglas, Barbara Ess, Harun Farocki, Lee Friedlander, Takeshi Murata, Muntadas and Reese, Radical Software, Aldo Tambellini, Not Channel Zero.
  • Video Digest, exhibition, Moltkerei Cologne, 25 November-10 December 2023. An exh. of newly commissioned videos, performances and zines, together with issues of the historical video magazines Infermental, Video Congress and Zapp Magazine. Curators: Miriam Hausner, Nele Kaczmarek, Tasja Langenbach. Concept: Tasja Langenbach, Linnea Semmerling. Booklet PDF.
  • People Make Television, exhibition, Raven Row, London, 28 January-26 March 2023. Curated by Lori E. Allen, William Fowler, Matthew Harle and Alex Sainsbury. Panel (audio, 75 min).
  • Testcard, programme of artists moving-image that takes the format of a 24-hour TV variety show which included a combination of live and pre-recorded material to draw on the history of radical and public broadcasting, open publishing and transmission, 24-25 September 2022. Developed by Nastassja Simensky and Anneke Kampman.

See also[edit]

Video art, Live video, Tactical media, Community radio, Community servers, Art and activism


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