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Interviews Conducted by Kathy - Experimental Television Center

Interviews Conducted by Kathy - Experimental Television Center

EXPERIMENTAL TELEVISION

EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) Interviews Conducted by Kathy High - 2 - FUNG (Cont.): From there, I moved into the actual cable station itself. And I think that that was sort of a goal, in the age of public access, where a lot of— there was a lot of stress on invention and breaking rules, of using media in a kind of democratic way. It was a sort of utopian moment, that people have spoken about at this conference. HIGH: And what were the actual tools that you were using, in terms of the equipment? You know, the machines. Like, what formats were you using at that point? FUNG: When I first started at school, and… Right in the beginning, we were using the Sony reel-to-reel PortaPak, the one that turns into spaghetti when you (laughs) press stop. And then after that, at the television station, I used a three-quarter-inch camcorder— not camcorder, sorry, three-quarter-inch PortaPak with the deck, which I would have to lug on the bus (laughs) from the station where I was working to the community. It was quite heavy. HIGH: When you were— did you edit much? I mean, you know, were the tapes, like, just sort of real time that they run? How did you structure them, in terms of… ’Cause I know that editing facilities at that point were kind of limited, especially with the halfinch; you know, and did that change how you looked at the work itself, or how you treated the material when you were interviewing people, et cetera?

EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) Interviews Conducted by Kathy High - 3 - FUNG: The half-inch material was actually quite a short time for me, and it’s sort of sunk into the recesses of my memory. I think it’s— I think I’m repressing something, because the experience was so bad. It always used to turn into spaghetti, (laughs) no matter what I did. In terms of the… When I moved into the three-quarter-inch work and was working with communities, there were editing facilities, and so I did edit. However, that was a period when we were definitely told, quite explicitly, that a program should only be as long as it needs to be. And so we weren’t editing down to specific television times. And at the end of the week, when we would schedule the work, it was actually quite a creative process to fit pieces together, ’cause it was more like a kind of uneven mosaic, rather than sort of like half-hour slots or one-hour slots that you have in regular television. HIGH: Mm-hm. So you moved from that into sort of academia at some point—I don’t quite know the transition—and, you know, what would be called art making. And so when did that happen, and how did that shift kind of come about? ’Cause it sounds like the way you’re describing the work with public access, like that was really community work. And then it shifted to something else; but it’s not really something else. You wanna talk about that?

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