Behind the scenes | 8th Festival
The Behind the Scenes features of the 8th edition gave an overview of the Festival’s 1990 program, which ushered in a new phase of internationalization of video in the country, now that the medium was consolidated.
making of & recordings
November 14, 1990 | 8th Festival
On its final day, Videojornal collected statements from artists and curators on the South-North relationship, including the Dutch Tom van Vliet, then director of the World Wide Video Festival
making of & recordings
November 12, 1990 | 8th Festival
On its 4th day, Videojornal featured audience impressions of competitive show videos, and international guests, including the curator Pierre Bongiovanni
making of & recordings
November 11, 1990 | 8th Festival
On the 3rd day of its 1990 series, the Videojornal program featured Sandra Kogut’s video installation, including a statement from the artist about the piece, and an interview with the international guest Yoichiro Kawaguchi
making of & recordings
November 10, 1990 | 8th Festival
On the 2nd day of its 1990 series, the Videojornal program featured a statement from Walter Avancini about the North-South relationship, the section "o que é vídeo?" (what is video?) and the competitive show favorites
making of & recordings
November 9, 1990 | 8th Festival
Marina Abs and Roberto Berliner directed the 1990 Videojornal series. The first day revealed a concern with achievements in independent production and the dialogue between video and TV, in the voice of Fernando Barbosa Lima
making of & recordings
Walter Avancini | 8th Festival
"Using our reality in a creative way,” says TV director Walter Avancini on discussing South-North exchange in video production
testimonies
Sandra Kogut | 8th Festival
“30 seconds of fame” is the period of time people can enjoy in front of the camera set on the streets of Rio de Janeiro, the artist Sandra Kogut explains in 1990
testimonies
Jean-Marie Duhard | 8th Festival
The curator explains the role of the independent producer in France as a sort of middleman between the artist and television, and lists the difficulties encountered on publicizing video in the country
testimonies