JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Notes

1. It should, however, be stressed that those with internet access in 2000 represented only 41.5 percent of U.S. households. Only 51 percent of U.S. households had computers. Roughly 70 percent of people in the U.S. earning $75,000 and above had internet access at the time while only 19 percent had internet access earning less than $15,000. Globally, only 6 percent of the population had internet access in 2000. So the term “access” is deeply classed and raced. See Manuel Castells, The Internet Galaxy: Reflections on the Internet, Business, and Society (Oxford: Oxford University Press, 2001), 249. [return to page 1]

2. See Christian Fuchs, Culture and Economy in the Age of Social Media (New York: Routledge, 2015) and Paolo Gerbaudo, The Mask and The Flag: Populism, Citizenism, and Global Protest (Oxford: Oxford University Press, 2017).

3. Donald Trump announced his proposed elimination of the National Endowment for the Arts and the National Endowment for the Humanities at the time of this conference; the elimination of these two organizations has long been a Republican goal tracking back to the culture wars of the late 1980s and early 1990s. Clearly, the money saved by their elimination is relatively nil— particularly keeping in mind the increases Trump wants to provide the military with. But their elimination has never been about finances, but instead about ideology and punishing those people and outlooks that do not fit into a Western, imperialist, homophobic, sexist, classist, and racist outlook. Patricia Zimmerman’s chapter, “The War on Documentary,” in States of Emergency: Documentaries, Wars, Democracies (Minneapolis: University of Minnesota Press, 2000) remains the best analysis of the fallout from decimating public funding for the arts.

4. Chuck Kleinhans, Ellen Seiter, and Peter Steven, “Alternative Cinema Conference: Struggling for Unity,” Jump Cut 21 (Nov. 1979): https://www.ejumpcut.org/archive/onlinessays/JC21folder/ReportACC.html .

5. John Hess, “Notes on U.S. Radical Film, 1967-1980,” Jump Cut 21 (Nov. 1979): https://www.ejumpcut.org/archive/onlinessays/JC21folder/
USRadicalFilmHess.html
.

6. See Elizabeth Cowie, “The Spectacle of Actuality,” in Collecting Visible Evidence, eds. Jane M. Gaines and Michael Renov (Minneapolis: University of Minnesota Press, 1999) for a good interrogation of the some of the conventions of the liberal documentary. [return to page 2]

7. I am oversimplifying here to an extent the great diversity that constitutes Left radical media making to stress a point, but nonetheless this simplification captures many of the objections I heard throughout the conference regarding Trigonis’s presentation.

8. See my piece, “Documenting the Little Abuses: Copwatching, Community Organizing, and Video Activism,” for PopMatters: http://www.popmatters.com/feature/documenting-the-little-abuses-copwatching-community-organizing-and-video-ac/ .