There's No Place Like Home Video

By: James M. Moran

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Paperback | 17 May 2002

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Defines, examines, and elevates home video to its rightful place

From its recording of family events to its influence on filmmaking, home video defies easy categorization and demands serious consideration. In There's No Place Like Home Video, James Moran takes on this neglected aspect of popular culture. He offers a cultural history of amateur home video, exploring its technological and ideological predecessors, the development of event videography, and its symbiotic relationship with television and film. He also investigates the broader field of video, taking on the question of medium specificity: the attempt to define its unique identity, to capture what constitutes its pure practice.

In Moran's discussion of video, he argues that previous scholars have not sufficiently dealt with its nature as hybrid, varied, and mutable. He argues that such a medium shouldn't be conceived as pure in and of itself; it is neither autonomous from other media nor entirely dependent on any other, but instead has a chameleonlike interface with films, television, computers, telephones, and even architecture. Rather than look for a grand narrative to define its specificity, Moran places video and home video at the intersections of multiple forms of communication.

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Acknowledgments	p. ix
Introduction: Medium Theory, Home Video, and Other Specifications	p. xi
What Is Video? Mapping Out Models of Medium Specificity	p. 1
From Reel Families to Families We Choose: Video in the Home Mode	p. 33
Modes of Distinction: The Home Mode, the Avant-Garde, and Event Videography	p. 64
Family Resemblances: The Home Mode as Chronotope	p. 97
The Video-in-the-Text: A Phenomenology and Narratology of Hybrid Spectatorship	p. 163
Notes	p. 205
Index	p. 219
Table of Contents provided by Syndetics. All Rights Reserved.

There's No Place Like Home Video

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