Video Theory

Online Video Aesthetics or the Afterlife of Video

Video is a part of everyday life, comparable to driving a car or taking a shower. It is nearly omnipresent, available on demand and attached to nearby anything, anywhere. Online Video became something vital and independent. With all the video created by the cameras around us, constantly uploading, sharing, linking, and relating, a blue ocean is covering our planet, an ocean of video. What might look as bluish noise and dust from the far outside, might embed beautiful and fascinating living scapes of moving images, objects constantly changing, re-arranging, assembling, evolving, collapsing, but never disappearing, a real cinema.

Andreas Treske describes and theorizes these objects formerly named video, their forms, behaviours and properties.

39,99 € *

14. April 2015, 208 Seiten
ISBN: 978-3-8376-3058-9

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Andreas Treske

Andreas Treske, Bilkent University, Ankara, Turkey

... with Andreas Treske

1. Why a book on this subject?

Since YouTubes purchase by Google in 2006 it has changed the way we see and use video in our daily life. It is not just only when or how or what we relate to online video, networked video is essential on our devices, technical tools and things from telephones to cars or refrigerators. With affordable recording and processing tools filmmaking lost its exclusivity. Instead of taking a pen to write a diary, everyone can switch on a device camera. But what is still lacking is videos'own theory.

2. What relevance does this subject have in the current research debates?

The relevance of this subject starts with calling back to the basics and essentials of media aesthetics. We could refer to post-media, media after the internet, whatever. Important is to remind that the formal questions of video are not necessary about representation but rather about relations. Combining theory with a view developed in a mediated practice, which is already based on the fundamental of processing, opens up creative and inspirational directions of reflection.

3. What new perspectives does your book open up?

New perspectives in this book on online video are of course in the combination of practice and theory, in searching a way to offer a new innovative and forward thinking approach towards the actual present forms, and there be relevant beyond the actual now. It tries to expand not rejecting todays approaches through its recall of formalist aesthetics in some ways.

4. Who would you preferably like to discuss your book with?

Of course, I'd like to discuss my book with students of media, scholars and academicians, but also filmmakers and artists between the generations. The main focus of the book was the YouTube and Instagram generation. But it is overall aimed at a more widespread non-technical audience then just academia. Even some parts seem to be necessarily more technology focused, I tried to simplify it in an descriptive approach.

5. Your book in only one sentence:

Video beyond cinema and TV as essential part of our lives is changing the way we see us in and with the world.

Besprochen in:
Journal of Film and Video, 69/2 (2017), Duygu Nas
Andreas Treske
Video Theory Online Video Aesthetics or the Afterlife of Video
transcript Verlag
kart., Klebebindung, 7 SW-Abbildungen, 2 Farbabbildungen
PER004030 SOC052000
14. April 2015
Medien, Film, Internet
Media Studies, Film Studies, Art, Communication Studies, Sociology
Video, Media, Culture, Internet, Cinema, Film, Digital Media, Media Theory, Media Studies

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