VT is not TV. Video is television (and what remains of television is video)
| Autor(a) principal: | |
|---|---|
| Data de Publicação: | 2023 |
| Tipo de documento: | Artigo |
| Idioma: | spa |
| Título da fonte: | Rebeca (São Paulo) |
| Texto Completo: | https://rebeca.socine.org.br/1/article/view/847 |
Resumo: | In Argentina, TV history is hard to trace. Due to a diversity of reasons –disposal of material, scarcity of preservation actions and restrictive legal frames, among others-, this precious legacy has become almost inaccessible for the general public. During the 70 years of Argentine commercial TV life, its main stations have been administered by a mix of foreign companies and corporations, national communications oligopolies, and recurring authoritarian governments, in the context of fragile democratic processes. In this context, video has become a vehicle of those images, otherwise hard to trace, in a process that is undoubtedly intertwined with its relationship to TV, shaped by a profound critic of the medium. From this perspective, if television is video (for, after all, the records of its programs are all that remain), the analysis of some of these video works and its circuits of exhibition become essential to consider experimental video as a way (both involuntary and effective) of creating potential archives and to put the spotlight on an era that, otherwise, would only return to us under the shape of a black screen. |
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VT is not TV. Video is television (and what remains of television is video)VT is not TV. El video es la televisión (y lo queda de la televisión es el video)VT is not TV. O vídeo é a televisão (e o que resta da televisão é o vídeo)AccesoVideoArchivosTelevisiónArchivosTelevisiónAccesoVideoArchivesTelevisionAccessVideoIn Argentina, TV history is hard to trace. Due to a diversity of reasons –disposal of material, scarcity of preservation actions and restrictive legal frames, among others-, this precious legacy has become almost inaccessible for the general public. During the 70 years of Argentine commercial TV life, its main stations have been administered by a mix of foreign companies and corporations, national communications oligopolies, and recurring authoritarian governments, in the context of fragile democratic processes. In this context, video has become a vehicle of those images, otherwise hard to trace, in a process that is undoubtedly intertwined with its relationship to TV, shaped by a profound critic of the medium. From this perspective, if television is video (for, after all, the records of its programs are all that remain), the analysis of some of these video works and its circuits of exhibition become essential to consider experimental video as a way (both involuntary and effective) of creating potential archives and to put the spotlight on an era that, otherwise, would only return to us under the shape of a black screen. La inagotable historia de la TV argentina es difícil de reconstruir. Debido a una diversa serie de motivos – descarte de material, escasez de acciones de preservación apropiadas y marcos legislativos restrictivos, entre otros –, la mayor parte de este precioso legado se ha tornado prácticamente inaccesible para el público en general y para la ciudadanía argentina en particular. Durante los casi 70 años de vida de la TV argentina, sus emisoras han sido administradas por una mezcla de empresas y corporaciones extranjeras, oligopolios de comunicaciones nacionales y reiterados gobiernos de facto, en el contexto de frágiles procesos democráticos. En este contexto, el video se ha convertido en soporte y en vehículo de esas imágenes, difíciles de hallar de otras maneras, lo que ha estado ligado sin dudas, a la fuerte relación que éste estableció con la televisión, bajo la impronta de una lectura agudamente crítica sobre el medio. Si desde esta perspectiva, la televisión es el video (pues a fin de cuentas, los registros de sus emisiones son todo lo que nos queda de ella), el análisis de algunas de estas obras y de sus modos de circulación resultan fundamentales para pensar al video experimental como una forma (tan involuntaria como efectiva) de concebir potenciales archivos y de volver a poner en foco una época que, de otro modo, sólo nos devolvería una pantalla negra. A inesgotável história da TV argentina é difícil de reconstituir devido a uma série de razões – descarte de material, escassez de ações de preservação adequadas e legislações restritivas, entre outras. A maior parte deste precioso legado têm se tornado praticamente inacessível para o público em geral e para a cidadania argentina em particular. Durante os quase 70 anos de vida da TV argentina suas emissoras têm sido gerenciadas por uma mistura de empresas e corporações estrangeiras, oligopólios de comunicação nacionais e reiterados governos de facto no contexto de frágeis processos democráticos. Neste cenário, o vídeo tem se tornado suporte e veículo de imagens difíceis de serem encontradas de outras formas, num processo ligado à forte relação que ele estabeleceu com a televisão, sob a marca de uma leitura profundamente crítica sobre aquela mídia. Se a partir desta perspectiva a televisão é o vídeo (pois, no final das contas, os registros de suas emissões é tudo o que fica dela), a análise de algumas obras e de seus modos de circulação são fundamentais para pensar o vídeo experimental como uma forma (tão involuntária quanto efetiva) de conceber potenciais arquivos e de novamente pôr em foco uma época que, de outra forma, só nos retornaria uma tela negra.Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual2023-01-30info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://rebeca.socine.org.br/1/article/view/84710.22475/rebeca.v11n2.847Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 11 No. 2 (2022): Rebeca 22Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 11 Núm. 2 (2022): Rebeca 22Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 11 No 2 (2022): Rebeca 22Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 11 n. 2 (2022): Rebeca 222316-9230reponame:Rebeca (São Paulo)instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)instacron:SOCINEspahttps://rebeca.socine.org.br/1/article/view/847/522Copyright (c) 2023 Mariela Elisa Cantúhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessCantú, Mariela2023-01-30T16:26:08Zoai:ojs.emnuvens.com.br:article/847Revistahttps://rebeca.socine.org.br/1ONGhttps://rebeca.socine.org.br/1/oairebeca@socine.org.br2316-92302316-9230opendoar:2023-01-30T16:26:08Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE)false |
| dc.title.none.fl_str_mv |
VT is not TV. Video is television (and what remains of television is video) VT is not TV. El video es la televisión (y lo queda de la televisión es el video) VT is not TV. O vídeo é a televisão (e o que resta da televisão é o vídeo) |
| title |
VT is not TV. Video is television (and what remains of television is video) |
| spellingShingle |
VT is not TV. Video is television (and what remains of television is video) Cantú, Mariela Acceso Video Archivos Televisión Archivos Televisión Acceso Video Archives Television Access Video |
| title_short |
VT is not TV. Video is television (and what remains of television is video) |
| title_full |
VT is not TV. Video is television (and what remains of television is video) |
| title_fullStr |
VT is not TV. Video is television (and what remains of television is video) |
| title_full_unstemmed |
VT is not TV. Video is television (and what remains of television is video) |
| title_sort |
VT is not TV. Video is television (and what remains of television is video) |
| author |
Cantú, Mariela |
| author_facet |
Cantú, Mariela |
| author_role |
author |
| dc.contributor.author.fl_str_mv |
Cantú, Mariela |
| dc.subject.por.fl_str_mv |
Acceso Video Archivos Televisión Archivos Televisión Acceso Video Archives Television Access Video |
| topic |
Acceso Video Archivos Televisión Archivos Televisión Acceso Video Archives Television Access Video |
| description |
In Argentina, TV history is hard to trace. Due to a diversity of reasons –disposal of material, scarcity of preservation actions and restrictive legal frames, among others-, this precious legacy has become almost inaccessible for the general public. During the 70 years of Argentine commercial TV life, its main stations have been administered by a mix of foreign companies and corporations, national communications oligopolies, and recurring authoritarian governments, in the context of fragile democratic processes. In this context, video has become a vehicle of those images, otherwise hard to trace, in a process that is undoubtedly intertwined with its relationship to TV, shaped by a profound critic of the medium. From this perspective, if television is video (for, after all, the records of its programs are all that remain), the analysis of some of these video works and its circuits of exhibition become essential to consider experimental video as a way (both involuntary and effective) of creating potential archives and to put the spotlight on an era that, otherwise, would only return to us under the shape of a black screen. |
| publishDate |
2023 |
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2023-01-30 |
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info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
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article |
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publishedVersion |
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https://rebeca.socine.org.br/1/article/view/847 10.22475/rebeca.v11n2.847 |
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https://rebeca.socine.org.br/1/article/view/847 |
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10.22475/rebeca.v11n2.847 |
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spa |
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spa |
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https://rebeca.socine.org.br/1/article/view/847/522 |
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Copyright (c) 2023 Mariela Elisa Cantú http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
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Copyright (c) 2023 Mariela Elisa Cantú http://creativecommons.org/licenses/by/4.0 |
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openAccess |
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application/pdf |
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Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual |
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Socine - Sociedade Brasileira de Estudos de Cinema e Audiovisual |
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Rebeca - Brazilian Journal for Cinema and Audiovisual Studies; Vol. 11 No. 2 (2022): Rebeca 22 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 11 Núm. 2 (2022): Rebeca 22 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; Vol. 11 No 2 (2022): Rebeca 22 Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual; v. 11 n. 2 (2022): Rebeca 22 2316-9230 reponame:Rebeca (São Paulo) instname:Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) instacron:SOCINE |
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Rebeca (São Paulo) - Sociedade Brasileira de Estudos de Cinema e Audiovisual (SOCINE) |
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