04076nam a22004575i 4500001001800000003000900018005001700027007001500044008004100059020001800100024003500118050001700153072001700170072002300187072002000210100008000230245009500310250001800405264008500423300004600508336002600554337002600580338003600606347002400642490006200666505030600728520220301034650002403237650001003261650001703271650002303288650001403311650001703325710003403342773002603376776003603402776003603438776003603474830006203510856004603572978-3-031-36903-2DE-He21320251030110835.0cr nn 008mamaa231120s2024    sz |    s    |||| 0|eng d  a97830313690327 a10.1007/978-3-031-36903-22doi 4aPN1995.9.E96 7aAPFN2bicssc 7aPER0040602bisacsh 7aATFx6AQ2thema1 aVicente, Mercedes.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut10aDarcy Lange, Videography as Social Practiceh[electronic resource] /cby Mercedes Vicente.  a1st ed. 2024. 1aCham :bSpringer International Publishing :bImprint: Palgrave Macmillan,c2024.  aXVIII, 278 p. 45 illus.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda1 aExperimental Film and Artists’ Moving Image,x2523-75350 aChapter 1 Social Consideration, Communication, Observation: From Sculpture to Film and Photography -- Chapter 2 Ethnographic, Structuralist and Real-Time Filmmaking -- Chapter 3 Images of People at Work -- Chapter 4 Education, Participation, and the Making of the Subject -- Chapter 5 Social Activism.  aThe Videography of Darcy Lange is a critical monograph of a pivotal figure in early analogue video. Trained as a sculptor at the Royal College of Art, Lange developed a socially engaged video practice with remarkable studies of people at work in industrial, farming, and teaching contexts that drew from conceptual art, social documentary and structuralist filmmaking. Lange saw in portable video a democratic tool for communication and social transformation, continuing the legacy of the revolutionary avant-garde projects that merged art with social life and turned audiences into producers. This book follows Lange's trajectory from his early observational studies to the crisis of representation and socially engaged video and activism, as it is shaped by, and resists, the artistic, cultural and political preoccupations of the 1970s and 1980s. It strikes a balance between being a monographic account providing a close analysis of Lange's oeuvre and drawing from unpublished archival materials—a sort of catalogue raisonné—whilst maintaining a breadth with theoretical discourses around the themes of labour and class, education, and indigenous struggles central to his work. The book's frameworks of Conceptual Art, structuralist and ethnographic film theory, social documentary and the critique of representation, video as social practice and the notion of 'feedback', participatory socially engaged art and postcolonial and indigenous theory,—expand our understanding of video outside the predominant structuralist tendencies. Lange's transnational and nomadic career introduces notions of alterity and challenges nationalistic accounts that excluded him in the past. Mercedes Vicente is a curator, writer, and researcher. She is Associate Lecturer in Critical and Contextual Studies at the London Metropolitan University and was a lecturer at Royal College of Art, UK. She has held museum positions as interim Director of Education and Public Programmes at Whitechapel Gallery in London, Curator of Contemporary Art and Darcy Lange Curator-at Large at Govett-Brewster Art Gallery in New Zealand, and Research Curatorial Assistant at the Whitney Museum of American Art in New York. 0aExperimental films. 0aArts. 0aPhotography.14aExperimental Film.24aFine Art.24aPhotography.2 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303136902508iPrinted edition:z978303136904908iPrinted edition:z9783031369056 0aExperimental Film and Artists’ Moving Image,x2523-753540uhttps://doi.org/10.1007/978-3-031-36903-2