Establishing Split from Catherine Grant on Vimeo.
Showing posts with label Editing. Show all posts
Showing posts with label Editing. Show all posts
Saturday, January 22, 2011
Thursday, July 08, 2010
Reconstruction: Technical Editor Needed
Reconstruction: Studies in Contemporary Culture, an online cultural studies journal entering its 10th year of publication, is looking for someone experienced with web design to take over as technical editor. The responsibilities include working with the managing editor, the submissions editor, the reviews editor, and special issues editors to ensure that, for each issue, articles, reviews, and images (both moving and still) are uploaded onto Reconstruction's eserver platform.
This is an excellent position for those with web design experience, including but not limited to graduate students and college professors, who are interested in promoting cultural studies and using their web design skills to do so. Technical editors are also included in discussions and decision making with the editorial board.
As an international, independent, peer reviewed journal, all editors work as volunteers, so we cannot pay a salary, but it is an excellent position for scholars who are not only interested in working with such a journal, but in having design experience with a scholarly journal as part of their CV.
If you are interested, please contact Alan Clinton (reconstruction.submissions@gmail.com) and Marc Ouellette (reconstruction.managing@gmail.com). At last count, Reconstruction is read in over 110 countries and receives approximately 2000 nonrobotic readers per day.
Sincerely,
Alan Clinton
Submissions Editor
Reconstruction: Studies in Contemporary Culture
This is an excellent position for those with web design experience, including but not limited to graduate students and college professors, who are interested in promoting cultural studies and using their web design skills to do so. Technical editors are also included in discussions and decision making with the editorial board.
As an international, independent, peer reviewed journal, all editors work as volunteers, so we cannot pay a salary, but it is an excellent position for scholars who are not only interested in working with such a journal, but in having design experience with a scholarly journal as part of their CV.
If you are interested, please contact Alan Clinton (reconstruction.submissions@gmail.com) and Marc Ouellette (reconstruction.managing@gmail.com). At last count, Reconstruction is read in over 110 countries and receives approximately 2000 nonrobotic readers per day.
Sincerely,
Alan Clinton
Submissions Editor
Reconstruction: Studies in Contemporary Culture
Monday, June 14, 2010
Kunst der Vermittlung: Notes on Matt Zoller Seitz’ ”Wes Anderson: The Substance Of Style”
Notes on Matt Zoller Seitz’ ”Wes Anderson: The Substance Of Style”
by Kunst der Vermittlung
Aus den Archiven des Filmvermittelnden Films and Shooting Down Pictures
...
But such heroic efforts were always complicated by two factors: the time, expense and complex production process once required create such works, and the necessity of seeking approval of copyright owners before quoting anything.
The first problem has been effectively obliterated thanks to technological advances. The combination of digital editing software and DVD ripping programs – I use a combination of Handbrake, Mac the Ripper and MPEG Streamclip for my own pieces – allows a critic to deconstruct a movie and recontextualize it with a degree of freedom comparable to that of a literary critic. The end result can be as drily analytical or as freewheeling as the filmmaker wishes – as expressive of individual sensibility as the work being examined.
The second problem is more vexing, thanks to media companies’ attempts to ignore, subvert and otherwise neutralize fair use provisions of copyright law – an exemption that permits selective quotation for purposes of criticism, commentary, education and parody. It’s strictly a bottom-line issue: companies wish to prevent anyone from quoting any part of a film or television program for any reason without official permission plus a fee, because looking the other way would (in their minds) condone a minor form of the piracy that saps so much revenue from their coffers.
Book, magazine and newspaper publishers have rarely gone to such lengths to control the quotation of written work. This is partly because anyone with eyes and a writing instrument could copy a written passage, and partly because written expression has always been intertwined with a common-sense approach to copyright law, with an awareness that culture is a living, breathing entity that must feed on itself in order to grow.
Now that the process isn’t hard anymore, copyright holders are adopting a zero-tolerance policy – embedding digital watermarks in their content, scouring the internet for any reproductions of that content, no matter how brief or recontextualized, and sending notices to video upload services (such as YouTube) demanding the removal of any videos containing that content. The Digital Millennium Copyright Act (DCMA) requires that service providers remove any content that the copyright holder deems infringing; the person who used that content can protest the takedown, and if the copyright holder doesn’t take further action after two weeks, the content has to be restored. The DCMA also warns that copyright holders who knowingly file or are a party to frivolous takedown notices can face legal and financial penalties – the flipside of holding copyright violators legally accountable for their actions.
This seems like a reasonable way of regulating a vast and perhaps unpoliceable new frontier – after all, with millions of new video uploads occurring each day, copyright holders (and video upload services) simply don’t have enough time or manpower to sift through all the videos individually and decide which are truly violating copyright and which are utilizing copyrighted material in a way that’s protected by the notion of Fair Use. Unfortunately, both the digital-watermark scanning software and the email programs that automatically send notice-and-takedown messages to service providers don’t distinguish between somebody who’s uploading the entirety of Battlestar Galactica (not protected speech) and someone who uses a minute and fifteen seconds of the series in a larger piece about the portrayal of women in science fiction (absolutely protected). As for the ideal of penalizing copyright holders who file frivolous takedown notices, there have been a few examples of this happening; but the system is still stacked against the video essayists, most of whom are independent artists who don’t have the time, money or knowhow to mount a legal attack against those who are interfering with their legally protected right to use Fair Use-exempted material online. And due to widespread ignorance of the law, people who use copyrighted material in online videos tend to recoil in fear at the first sign of a takedown notice, not realizing that they have some recourse, however limited.
However, technology’s forward march being what it is, one suspects that these problems will resolve themselves in due time. It seems inconceivable that takedown notice-abusers could eventually win out in this struggle; with so much of the world getting used to near-total freedom of expression online, the idea that one would have to seek someone’s permission before criticizing or commenting upon their work is not just anathema to reason, it’s faintly fascistic, and as such, cannot be sustained. On top of that, what we’re seeing on YouTube and other sites is the New Normal – the new way of thinking, communicating, interacting with the world. A new generation of critics and artists are comfortable with a collage-type approach to expression, one that appropriates bits and pieces of media and puts them in a new framework -- everything from so-called »mash-up« videos to humor pieces that utilize television news footage to more theoretical works like the ones created by such video essayists as Kevin Lee. And with each passing year, indeed each passing month, the means of expression becomes more supple, the language more expressive. It is already possible for video essayist to express themselves with the same fluidity and idiosyncratic energy that they might bring to written text; just as a dedicated cinephile can identify a particular paragraph as the work of Pauline Kael, Manny Farber or André Bazin, it is also possible (already!) to see a snippet of one of Kevin B. Lee’s videos from the other side of the room with the sound off and say, »That’s got to be Kevin.« Bottom line: despite the best efforts of copyright holders and media companies to fence off this new frontier, it remains not only open, but also ever-expansive. The frontier is wide open.
To Read the Entire Essay
by Kunst der Vermittlung
Aus den Archiven des Filmvermittelnden Films and Shooting Down Pictures
...
But such heroic efforts were always complicated by two factors: the time, expense and complex production process once required create such works, and the necessity of seeking approval of copyright owners before quoting anything.
The first problem has been effectively obliterated thanks to technological advances. The combination of digital editing software and DVD ripping programs – I use a combination of Handbrake, Mac the Ripper and MPEG Streamclip for my own pieces – allows a critic to deconstruct a movie and recontextualize it with a degree of freedom comparable to that of a literary critic. The end result can be as drily analytical or as freewheeling as the filmmaker wishes – as expressive of individual sensibility as the work being examined.
The second problem is more vexing, thanks to media companies’ attempts to ignore, subvert and otherwise neutralize fair use provisions of copyright law – an exemption that permits selective quotation for purposes of criticism, commentary, education and parody. It’s strictly a bottom-line issue: companies wish to prevent anyone from quoting any part of a film or television program for any reason without official permission plus a fee, because looking the other way would (in their minds) condone a minor form of the piracy that saps so much revenue from their coffers.
Book, magazine and newspaper publishers have rarely gone to such lengths to control the quotation of written work. This is partly because anyone with eyes and a writing instrument could copy a written passage, and partly because written expression has always been intertwined with a common-sense approach to copyright law, with an awareness that culture is a living, breathing entity that must feed on itself in order to grow.
Now that the process isn’t hard anymore, copyright holders are adopting a zero-tolerance policy – embedding digital watermarks in their content, scouring the internet for any reproductions of that content, no matter how brief or recontextualized, and sending notices to video upload services (such as YouTube) demanding the removal of any videos containing that content. The Digital Millennium Copyright Act (DCMA) requires that service providers remove any content that the copyright holder deems infringing; the person who used that content can protest the takedown, and if the copyright holder doesn’t take further action after two weeks, the content has to be restored. The DCMA also warns that copyright holders who knowingly file or are a party to frivolous takedown notices can face legal and financial penalties – the flipside of holding copyright violators legally accountable for their actions.
This seems like a reasonable way of regulating a vast and perhaps unpoliceable new frontier – after all, with millions of new video uploads occurring each day, copyright holders (and video upload services) simply don’t have enough time or manpower to sift through all the videos individually and decide which are truly violating copyright and which are utilizing copyrighted material in a way that’s protected by the notion of Fair Use. Unfortunately, both the digital-watermark scanning software and the email programs that automatically send notice-and-takedown messages to service providers don’t distinguish between somebody who’s uploading the entirety of Battlestar Galactica (not protected speech) and someone who uses a minute and fifteen seconds of the series in a larger piece about the portrayal of women in science fiction (absolutely protected). As for the ideal of penalizing copyright holders who file frivolous takedown notices, there have been a few examples of this happening; but the system is still stacked against the video essayists, most of whom are independent artists who don’t have the time, money or knowhow to mount a legal attack against those who are interfering with their legally protected right to use Fair Use-exempted material online. And due to widespread ignorance of the law, people who use copyrighted material in online videos tend to recoil in fear at the first sign of a takedown notice, not realizing that they have some recourse, however limited.
However, technology’s forward march being what it is, one suspects that these problems will resolve themselves in due time. It seems inconceivable that takedown notice-abusers could eventually win out in this struggle; with so much of the world getting used to near-total freedom of expression online, the idea that one would have to seek someone’s permission before criticizing or commenting upon their work is not just anathema to reason, it’s faintly fascistic, and as such, cannot be sustained. On top of that, what we’re seeing on YouTube and other sites is the New Normal – the new way of thinking, communicating, interacting with the world. A new generation of critics and artists are comfortable with a collage-type approach to expression, one that appropriates bits and pieces of media and puts them in a new framework -- everything from so-called »mash-up« videos to humor pieces that utilize television news footage to more theoretical works like the ones created by such video essayists as Kevin Lee. And with each passing year, indeed each passing month, the means of expression becomes more supple, the language more expressive. It is already possible for video essayist to express themselves with the same fluidity and idiosyncratic energy that they might bring to written text; just as a dedicated cinephile can identify a particular paragraph as the work of Pauline Kael, Manny Farber or André Bazin, it is also possible (already!) to see a snippet of one of Kevin B. Lee’s videos from the other side of the room with the sound off and say, »That’s got to be Kevin.« Bottom line: despite the best efforts of copyright holders and media companies to fence off this new frontier, it remains not only open, but also ever-expansive. The frontier is wide open.
To Read the Entire Essay
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