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Vidding is the fan labor practice in media fandom of creating music videos from the footage of one or more visual media sources, thereby exploring the source itself in a new way. The creator may explore a single character, support a particular romantic pairing between characters, criticize or celebrate the original text, or point out an aspect of the TV show or film that they find under-appreciated. The creators refer to themselves as "vidders", their product as "vids", "fanvids", or "songvids", and the act itself as vidding. Vidding can occur within a fandom; however, it is also often considered its own fandom, as vidding fans will often watch vids simply because they are vids. (This is distinct from fan fiction readers and other fans, for instance, who tend to choose what to engage based on source text more than form.) Accordingly, vidding has its own dedicated fan convention, (Vividcon ). Fan videos within the world of anime fandom are distinct from the videos created by vidders. A fan-made music video using anime footage fans is called an anime music video or AMV, not a fanvid. While a large number of anime video makers are male, the bulk of vidders in media fandom are women.〔 〕〔 〕〔 〕 ==History== Vidding began in 1975,〔 when Kandy Fong synced Star Trek stills on a slide projector with music from a cassette player.〔 〕 She performed her vids with live cutting at fan conventions, which continue to be one of the main venues for vid-watching.〔 When home videocassette tape recorders became available in the mid-1970s, vidders began producing live-action vids that were recorded onto media that could be shown at fan conventions and further distributed to fans.〔 Substantial technical and artistic skill were required to cut vids together, often requiring footage from multiple VCRs to be placed on the same tape, with the added challenge of exact timing. Typical vids could take 6–8 hours to produce, and more elaborate ones could take substantially longer.〔 〕 Vidders, predominately women, passed this knowledge on to each other.〔 With the rise of digital media, greater bandwidth, and the widespread availability of free, albeit basic, video creating/editing software such as iMovie and Windows Movie Maker or more professional and in use ones such as Sony Vegas, the skill level required for vidding has been reduced and the number of distribution outlets has increased. As a result, both the number of vidders and the number of accessible vids has skyrocketed.〔 However, because of concerns that the outside community won't understand the vids and the context of vidding as well as some copyright and intellectual property concerns,〔 〕 many of the most experienced vidders do not make their vids readily-accessible on public venues such as YouTube,〔 although this is changing.〔 The Museum of the Moving Image in New York ran an exhibition from June 29–October 14, 2013 called ''Cut Up'' which included highlights of style from the original by Kandy Fong to Vogue (300) by Luminosity. On display were: * “Both Sides Now” by Kandy Fong (1980) * “Tempers of Revenge” by MVD and Caren Parnes (1984) * “Data’s Dream” by Shadow Songs (1994) * “A Fannish Taxonomy of Hotness (Hot Hot Hot)” by Sandy and Rache (2005) * “I Put You There” by Laura Shapiro and Lithiumdoll (2006) * “Vogue (300)” by Luminosity (2007)〔(【引用サイトリンク】url=http://videos.nymag.com/video/Vogue300#c=JFG5Z6RV8PZL8T4Y&t=Vogue/300 )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「vidding」の詳細全文を読む スポンサード リンク
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