AIDS TV : identity, community, and alternative video
著者
書誌事項
AIDS TV : identity, community, and alternative video
(Console-ing passions : television and cultural power / edited by Lynn Spigel)
Duke University Press, c1995
大学図書館所蔵 全12件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [259]-270) and index
内容説明・目次
内容説明
Camcorder AIDS activism is a prime example of a new form of political expression-an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon-why and how video has become the medium for so much AIDS activism-she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media's form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of community identity and self-empowerment.
An AIDS videomaker herself, Juhasz writes from the standpoint of an AIDS activist and blends feminist film critique with her own experience. She offers a detailed description of alternative AIDS video, including her own work on the Women's AIDS Video Enterprise (WAVE). Along with WAVE, Juhasz discusses amateur video tapes of ACT UP demonstrations, safer sex videos produced by Gay Men's Health Crisis, public access programming, and PBS documentaries, as well as network television productions.
From its close-up look at camcorder AIDS activism to its critical account of mainstream representations, AIDS TV offers a better understanding of the media, politics, identity, and community in the face of AIDS. It will challenge and encourage those who hope to change the course of this crisis both in the 'real world' and in the world of representation.
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