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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 - 38 - BODE (Cont.): think the first time I actually worked there was working with Nicholas Ray, a filmmaker who was in Binghamton for two years, who together with the class and various classmates over that period, we worked on a feature film that ended up going to the Cannes Film Festival. And it was a very long, engaged project, part of which involved electronic manipulation. And we went down to the TV Center. And that was really my first experience sort of being abandoned there, and with Nick and a few other fellow students, trying to figure out how the keyer worked and how this thing worked and how that thing worked. And… HIGH: What year was that? BODE: That was probably in 1972, ’73. It was when the center first had moved to Binghamton. I again had the… I was a serious film student, and I had a lot of the… That was really most of what my experience was. I was also— it was in the context of there being these very, very strong debates or sentiments of the filmmakers, as to what a terrible medium was, what an ugly blue light it was, how inarticulate, and how ugly that frame was that wasn’t even a real rectangle, but this kind of happy face. And you know, I think— I don’t know that I believed all of that; but on some level, I must’ve absorbed some of that, as well. And probably the other aspect, I also just saw such remarkable film work, which has been, I think, a really important part of my education and experience that I’m still working out of and extending into video, in terms of what could be

EXPERIMENTAL TELEVISION CENTER Video History: Making Connections Conference (October 16-18, 1998) Interviews Conducted by Kathy High - 39 - BODE (Cont.): electronic cinema. And a lot of that stuff really fed me, in terms of where— you know, what the work was that really excited me, was the film work. When I graduated from the film program—and that probably is some indication also of sort of a difficulty that was around all of that—I began to make video, and actually felt that I had to make a decision to make video, and not to make film; and in fact, ended various friendships, and people who I haven’t seen in years—partially because we’ve now, you know, gone our separate ways, but… You know, at the point where we were still— we didn’t talk to each other anymore, and it was really a very severe thing that happened. And I remember actually making a very conscious decision that yes, video in fact interested me. I wasn’t sure there was a whole lotta work that was that interesting that I had seen in it; but obviously, its potential was phenomenal. And I had ideas for things, you know, like, that I would like to do in it. And there was a lot of freedom in it, you know, because of the openness and the kind of newness of it. The other thing that is a kind of context for me, that was the experience, the environment that I came out of, was that my father was an electronic tool designer, Harold Bode, and developed some of— he’s really one of the pioneers of electronic music development, and a lot of things I found out later that I didn’t know growing up in that household, but that he had developed the first modular audio synthesizer that the Moog was based on, and that the early kind of fancier processing modules that were in the Moog were actually the frequency shifter and remodulator that he had developed. So that was a kind of

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