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Interview with Philip Mallory Jones - Experimental Television Center

Interview with Philip Mallory Jones - Experimental Television Center

Interview with Philip Mallory Jones - Experimental Television

PHILIP MALLORY JONESInterviewed by Chris HillJuly, 1995CH :How did you get involved in video?PJ : I was writing fiction ; I was in graduate school at Cornell, in the writing program . I began makinganimated 16mm films at the same time, and I was interested in moving from the printed page to screenimages . I wrote a screenplay based on a short story that I had written and out of that came a shootingscript . Of course 16mm film was all I knew in 1969, and I couldn't afford to do a 16mm film from thisshooting script. In the process of trying to raise the money to make a16mm film I almost literallystumbled across a CV portapak .This was just an odd little thing that was part of the Architecture and Fine Arts library at Cornell . Ofcourse CV portapaks are not interchangeable, that is, you couldn't take a tape that had been produced onone recorder and play it back on another deck . The deck was record only, black and white, no editing,and you had to hold your hand over the lens of the camera for a full minute before you could open it, inorder to allow time for the recorder to stabilize . So it was very much a tinker toy and a throwback tophoto's very early imaging days, and it was intriguing for all of that. I was really seduced by this ricketygadget, and just kept trying to do something with it .It was months and months later into this project, still trying to make the shooting script with video, whenSony came out with the 8500 deck that would make a crash assembly edit. I'll never forget it. It wasreally one of the defining moments of my life when I made my first video edit around Christmas time inthe dead of winter in 1969 . It was midnight . My wife at the time was with me, and I remember walkingaround the Art's quad in the middle of the night in knee deep snow not feeling anything but this elationthat I could edit video, knowing that, for me, this was really the future . This was it, and I just neverstopped .It was not an abrupt change for me . It was an organic shift from one medium to another, from one set oftools to another . The basic motivations and the basic concerns hadn't changed from when I was writingto making video . I was still trying to do the same things ; I was still basically concerned with the sameideas about making intelligible or comprehensible a certain vision, matters of control of image and akind of concreteness in the medium. It didn't matter to me if it was video or print on a page or animation .Video just seemed like a quicker way to do it. . .Also, there were no rules . That was critical . The people that were making video in the first days madethe rules and defined the field, and that was very attractive to me . It was not television, althoughengineers tried to claim it as television and the early videomakers certainly had to struggle to insist thatthis was not television . Those that did it, defined what it was . And there was an aspect of that sharedexperience and that shared consciousness among early videomakers because we all knew that. Thediscourse that went around among early video makers was significantly about that, and there was a veryfast moving internal discussion about what this was and how it worked in terms of content and structure,how was it different from other forms .CH : Where was that discourse carried out in conferences, visits, in writing?

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