Deirdre Boyle reading prompt and guide

One of the ways artists countered the ideologies broadcast to viewers

by television was to make and transmit their own videos. This also
included letting people experiment with creating their own messages
and images on tape and sharing what they developed. Deirdre Boyle
tracks some of these early efforts. For those of you interested in
socially-engaged artistic practices, alternative video is an early
example of using technology for social change.
Reading Prompt-- answer the following question(s):

1
2

Boyle charts the failure of multiple documentary endeavors to

participate in mainstream broadcast television (namely University
Communication Video, New Orleans Video Access Center, and
Broadside Television) during the mid-1970's.
In what ways were these projects alternative to mainstream
television?
How did their alternative characteristics contribute to their downfall?
Do you think it is even possible for there to be alternative television?
-The alternative projectswere meant to be lucrative and have neoexpressionist narratives and strayed from the realism of standard
documentaries. The alternative projects way of doing things kind of
pushed in people away in the opposite direction all the special effects
and symbolism provoked a new interest in simple minimalist portraits
and straight forward storytelling. Mainstram then began to absorb the
alternative ways making them the best of both worlds per say.
I think its possible for there to be alternative TV, will it be extremely
successful? No, it will never beat the audience and power of
mainstream because at some point that alternative way is bound to
become absorbed by mainstream again and again.

3
4
5

Reading Guide:
How does documentary video promote radical pluralism as
suggested in the introduction of Boyle's article?
Do the pluralistic goals of documentary video contribute to its
alternative nature?
What are some of the catalysts for the sudden popularity of alternative
video production during the 1960's?
What were the two directions taken by documentary filmmakers during
the 1980's?