Titlebook: Darcy Lange, Videography as Social Practice; Mercedes Vicente Book 2024 The Editor(s) (if applicable) and The Author(s), under exclusive l

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巧思

M. L. Whitehead,J. P. Wilson,R. J. Bakerhotography and video shortly after. He desired that his art serve a social function, from the early observational video series . (1971–75), documenting people at work in factories, mines and rural settings, and the socially engaged . (1976–77) in Britain, to the . (1980), joining Indigenous activist

GUISE

M. Merchan,D. E. Lopez,E. Salda?a,F. Collia (Harun Farocki and Kevin Jerome Everson). Ethnographic film discourses serve here to examine the politics of representation and the social and political inflections embedded in Lange’s early works, such as . (1972) and throughout his . (1972–77).

歡樂中國

衣服

禁止

禁止

一起平行

,Ethnographic, Structuralist and Real?Time Filmmaking, (Harun Farocki and Kevin Jerome Everson). Ethnographic film discourses serve here to examine the politics of representation and the social and political inflections embedded in Lange’s early works, such as . (1972) and throughout his . (1972–77).

syncope

Images of People at Work,alist, socially engaged documentary tradition. He sided with the workers rather than addressing labour for a political argument, contrasting with the more programmatic articulations of his radical left and feminist contemporaries. Lange’s . examine work in its manifold meanings, including the workin

lacrimal-gland

Education, Participation and the Making of the Subject,ctices as theoretically defined by Claire Bishop, that sought to activate the role of the artist in society. The dialogical nature of Lange’s video raises issues to do with the methodological analysis of this work, whether it ought to be framed within the discourses of video—the notion of feedback,