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The first para- graphs will be set aside for historical and theoretical issues; in the final section we will discuss a specific case study. We have two intertwined aims: the first one is to describe how amateur photo-film-video magazines tried to construct the identity of Italian amateur video-makers throughout the years; the second one is to show how To the Anonymous Video-Maker these magazines helped to shape new identity layers, instead of mirroring specific ideological constructions.
In order to accomplish our goals, the methodological angle will be much more descriptive than analytical.
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We could start asking ourselves four questions: Which magazines are we talking about? Why did we choose this time span — from to ? Which methodological and theoretical frameworks are we using in order to properly inquire into our topics?
What do we mean with subjectivity construction? Italian Magazines in the Analog Video Era In Italy, the first magazines entirely dedicated to amateur video-makers were released in the very first one, called Video Magazine,2 fig. Before photography, hi-fi, and, of course, amateur film magazines fuelled the debate on amateur video-making.
The first magazine that showed some interest in the new technological landscape was Videocassette, whose first issue dates In the second 12 and third ones,13 he sketched out a technological history of video technology.
Photo magazines such as Fotografare played also an important role. From June figg.
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During these seven years Mantegna wrote about several topics: from technological colour standard, VHS-Betamax war, etc. As Mantegna wrote, Video and sex have often been interrelated [ Although their costs were still unbearable for most of the Italian population — a portapack device camera plus portable video-recorder cost four millions liras the medium wage of a metalworker was Advertisement strategies remarked how video technologies were much more user-friendly and better-performing than film cameras, comparing amateur video-making and amateur film-making practices: I used to have a film camera.
I had to download the film strip, send it to the lab, wait for the strip to come back, install the projector Because around we had the final transition from analog video combined systems to ana- log video compact systems. What does this mean?
A Video columnist, Paolo Campioni, gives us one plausible answer. The distribution of the first one, the famous Betamovie, started at the end of in Italy its cost was two millions eight thousand liras — more affordable than the Sony Portapak System, but still very expensive.
Generally speaking, the commercialization of video compact systems became massive during and The matter is not only technological: in these magazines, the discursive typologies were changing very fast.
Around every magazine renewed its col- umns, which became less focused on technological topics and more focused on video culture.
Since the end of new sections appeared: they were dedicated to video-art,25 video-clip art,26 and computer technology. How did these maga- zines change the sense of identity of this anonymous figure? Frames and Angles: Theoretical and Methodological Issues So, what are our theoretical and methodological angles? A Social History of Ama- teur Film. Her contextualist approach locates the home mode in its set of affiliations with the ideologies and economic structures of dominant media practice, [ Thus, rejecting a static model of the home mode as a transhistorical amateur practice, she redefines it as one effect of changing social and power relations that shape the contours of legitimate practice and preserve professional privilege [ Yet in attempting to account for the home mode, her model deforms as often as it explains amateur practices.
The space between these clusters is ideology. Through the analysis of its refraction lens, we can investigate the context in which amateur film-making practices take shape, a context where everything seems to be regulated by ideological constructions: variables become mere occurrences, not the actual terms of our equation.
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Thus, we are lost in a paradox because we are forced to find what we are trying to prove. We could amend this sort of tautology stating that the matter in question is not the straight line that connects ideology, discourse, and social actors, but how discourse and, in our case, magazines shapes the identity of its reader for commercial purposes.
In this case we could observe if identity markers are confirmed or rejected, and therefore which ideological elements are accepted.
On the theoretical ground, one of our benchmark is the notion of epistemic framework, developed by Maria Tortajada. Thus, in the epistemic framework theoretical angle, we have a strong interrelationship between discourse, magazines, and technology.
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Instead, they produce enunciational frameworks in so far as they en- Diego Cavallotti tail a specific reader for every article or issue. We are referring to those enunciational strategies that address an anonymous video-maker, who represents the good video-maker to be. As we have suggested before: it is not. Is it a fully-fledged ideological construction?
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That cuts down on extra data and also provides the right mix of luma and chroma detail to satisfy our eyes, which are more sensitive to brightness luma than color chroma. Italian Magazines in the Analog Video Era In Italy, the first magazines entirely dedicated to amateur video-makers were released in the very first one, called Video Magazine,2 fig.
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