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Ithaca Vidt It would be of some service to clarify first off just what video is. The video camera is, as logic would suggest, the way the majority of television programs are recorded and reproduced. The camera itself does not do the i cvui uiug uui a>ui|fijr uiauiicu UiC image into a larger machine that records the audible and visual components on a sizeable cassette tape. This cassette can then be rechanrieled into any standard television (or a video projector) f A. & 1 A! ? lor lnsuim reproduction 01 me image. " Video creates considerably different results than standard 35mm film. You may have noticed the contrast when commercial are aired on television and spliced between video-recorded advertisements. Standard movie film is more conducive to creating a mellower, richer image, whereas video tends to be a crisper image, with less depth and value graduation. One is not specifically better than the other; each has its own function and characteristics, and each its own appropriate angle of expression. Artists began experimenting with video a number of years ago. It has been used to document conceptual work (such as Chris Burden's "Velvet Water"), as a participating agent in a given work of art (as in Bruce Nauman's "Corridor Piece") and simply as a medium in and of itself. The artists showing in the Fifth Annual Ithaca Video Festival, wmcn will continue tnrougn the 30th of this month at McKissick, fall into the last group. The show consists of 20 individual works, none over 30 minutes long, which have been divided into five onehour tapes. The five tapes run on S Ym i Ton HOMECOM This year a c not be spor organization. to sign herself fee of ten dollc Sign Up and Informal in Student Activities C Russell House Second Floor APPL1 Omicron D naiivnai &#< Honor Sod Requirements: f 1) 60 or more hours completed 2) cumulative 3.0 GPI 3) significant contribi arts, athletics, med Applications Avallab rack near Info. Desl House < -> . ? ; r:>. > Career Plannina & P ,; ^ Honors Program Of Deadline Se KninannHaniMnHHMBHMRHMBBBMBi so Festival the hour, and the following CVIinn?lo mo.. m; imp jvu w avieci ones of personal interest. TAPE 1 opens with a stunning documentary by Skip Blum berg entitled "For A Moment You Fly: The Big Apple Circus." This rather long, yet never dull piece is enhanced by quick and effective editing, which illuminates the provocative story of a circus that springs out of nowhere in the midst of the world's largest city. Two short pieces by Gary Hill follow, "Windows" and "Objects With Destinations." Both of these works deal primarily with the special effects conducive to the medium and in my opinion seem mindless in direction. "Incident at Revere High" by Ann 4^*. T? 1 Kill IIJLVIUIWII CIU3C3 Ut|K UI1C. Ill many ways this piece seems to personify the essence and power of video. It begins with a teacher's explosion at her students' behavior and develops into an indictment of the medium that recorded it. TAPE 2 begins with a long, visual investigation into a reclusive Indian tribe. "Tule, The Cuna Indians of San Bias" is a provocative yet ultimately unuotlaf.nMM 1 W~ WJJ- ?? Dauaijiiig |iui uaytti oy H1UIII V61CZ. The refusal to add narration, presumably to avoid the stigma of "traditional documentary," ends up undermining the effect the work intrinsically possessed. "Kinesphere," by Judith Azur, visually examines the extended reach of man's physical body, an interesting work in concept, yet the exaggerated running time lessens the impact. Susan Russell has produced the most eccentric and witty piece of the entire collection in 'TV Hot, TV Cold," This lively dance number puts into rhyme words of advice for us "media children." -.i ?a i juuiu oe A ING QUEEN andidate need lsored by an She is eligible up for an entry irs. Deadline tion Sept. 19th r NOW! ~\ elta Kappa eadershij* ety A jtions to academics, ? lin /in/4 AtltAr nrfivltlacl Iivif Ul IM V/"l l?> UVII VIIIV4 2nd floor Russell 'lacement Or Call 8544 fice pt?mber 21 asr m In "Bog Rushes," the closing piece for tape two, Henry Linhart has effectively utilized an interesting effect that he procedes to drive to the point of nausea. TAPE 3 opens with "Sometime in September," a direct narrative of an attemDted raDe bv the victim m ? ~ <r ' 1 " John Crentlicher has created an unnerving work in both story and treatment. "Untitled Morning Ritual," by Steve Kolpan, has some interesting moments, but again the problem seems to be a total unawareness of pacing and length. Dan Reeves and Jon Hilton collaborated in this futuristic treatment of past events. "Thousands Watch" is one of the few examples in this collection that effectively utilizes special effects towards a unified impact. A condensed version of a full length feature, "Pyrenees Portrait/' is an interesting venture into the changing way of life in two small southern French villages. Bill and Es&Marpet collaborated I FEEI ' S5S55SS3S555? ' r A SUN i . mmmmmmmamamauy? rm nm ArtntiAL ma wmc rtniwi on this well-made documentary of vanishing life styles. Tape three fizzles out with two shorts by Ernest Gusella, "Facial Treatments" and "Iris," proving once and for all that even choppy repetition is still repetitious. TAPE 4 has two mildly in teresting openers, Sally Shapiro's "Cluck" and Pat Lehman's "Square Dance," yet once you're consumed in James Morris' "The Stag Hotel," you'll forget what came before. 'The Stag Hotel" is without a doubt the very best Aesthetica saw. This penetrating look at the aging inhabitants of a decaying inner-city hotel/bar is thoughtprovoking and deeply saddening. In between the booze and cigarettes, these beaten men remember a time of family and friends, of hopes and dreams. Now, tormented by the past, by the evercKnrnAninrr nnn4t?oc^ A# ?**!*#?+ MilU* WftlVI CU3V VI ffliai UICJT were and what they've become, they drift mindlessly into the - future. *. . DEV1I $ ^8H*> / l\ m,* tt? I \ T Oil 11 X I with / / \ V 'ronn ffa. _ Pat's Place Upinrr Level Columbia ! [lent disci ?Ctlp A WmH ? MWII JJSr TAPE 5 opens with "Coming and Going: Paris (Metro)," which is realy a video tape of closed-circuit video in the Paris metro-train station. Created by Peter D'Agostiono, the work also weaves in the etymology of the word "metro." "Always Late," by Mitchell Kreigman, is a good sit-com type sketch of a couple who can never get anywhere on time and who finally resolve never to go anywhere again. Kit Fitzgerald and John Sanborn collaborate on the final work, "Interpolation," which is fragmented into numerous sketches utilizing a variety of special effects. Tape show times at McKissick: (Monday-Friday) TAPE 1?9am and 2pm. TAPE 9.?1 ftam anH 3 nm TAPE 3?llam. TAPE 4?12 noon. TAPE 5?lpm. (* highly recommended) -1SH? be a charmer an ensemble i Pat's Place. i * ( , V Vlull I iiuiit!' I