I am excited to see my interactive piece, “Visualizing Digital Seriality, or: All Your Mods Are Belong to Us,” out now in the latest issue of Kairos: A Journal of Rhetoric, Technology, and Pedagogy. This is by far the most technically demanding piece of scholarship I have ever produced, and it underwent what is possibly the most rigorous peer-review process to which any of my published articles has ever been subject. If you’re interested in data visualization, distant reading techniques, network graphing, critical code studies, game studies, modding scenes, or Super Mario Bros. (and who doesn’t like Super Mario Bros.?), check it out!
This video is an experimental “annotation essay” that develops a reading of Edison’s Frankenstein (1910) through on-screen text annotations. This is the complete film, unedited except for the annotations and new digital intertitles.
The video’s argument is adapted from Chapter 3 of my book Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface: “Monsters in Transit: Edison’s Frankenstein.”
This is my second Frankenstein-themed video essay. The first one, on sound in James Whale’s Frankenstein (1931), can be found in the online journal [in]Transition.
Poster for the opening colloquium for Stanford’s Frankenstein@200 Initiative, October 17, 2017. I’ll be speaking alongside Denise Gigante, Aleta Hayes, Russ Altman, and Hank Greely, moderated by Jane Shaw. Location TBA.
Free and open to the public: All humans, monsters, cyborgs, others welcome.
This fall, I am excited to teach a new course, “The Video Essay: Writing with Video About Film and Media,” as a part of Stanford’s Introductory Seminars program. Geared towards sophomores from any major, this small class will combine practical instruction in video editing, analysis and discussion of exemplary video essays, hands-on lab sessions, and group critique of student work.
The course draws essential inspiration from the NEH-funded “Scholarship in Sound & Image” workshop, organized by Christian Keathley and Jason Mittell at Middlebury College, which I participated in back in 2015.
More info about the course can be found on Stanford’s Introductory Seminars website.
A selection of video essays from the exhibition Post-Cinema: Videographic Explorations, which ran May 1-12, 2017 at Stanford University, is now available for viewing online.
The video essays, by leading filmmaker-scholars Kevin B. Lee and Allison de Fren as well as students in my “Post-Cinema” seminar (winter 2017), deal with a variety of contemporary media forms and phenomena – including digital animation, Beyoncé’s Lemonade and the visual album, contemporary horror, slow cinema, post-cinematic television and transmedia franchises, among others.
You can find the video essays on my website, under “Videographic Scholarship” on the catch-all “STUFF®” page (where you’ll also find a variety of digital and creative projects). Or go straight to the exhibition page.
Following the recent publication of Media of Serial Narrative, edited by Frank Kelleter, there is a 4-part interview with Kelleter conducted by Henry Jenkins over on the latter’s blog. The interview is far-ranging and offers a good introduction to the volume and to the broader work conducted by the Popular Seriality Research Unit from 2010 to 2016, continued in ongoing work today.
Post-Cinema: Videographic Explorations — an exhibition of video essays that I am curating at Stanford — opens today. The wall text (above) outlines the aims and objectives of the show. Here is a list of the 13 works included:
Post-Cinema: Theorizing 21st-Century Film (Book Trailer), 2016
The Beyoncé Image: Synesthetic Abilities of the Visual Album, 2017
Iñárritu’s Films in a Conversation on Realism, Hyperrealism, Time-Image, and Movement-Image, 2017
Raquel Orendain Shrestha
WTF IS THAT? The Pre- and Post-Cinematic Tendencies of PARANORMAL ACTIVITY, 2017
Allison de Fren and Brian Cantrell
The Shared Universe Cinema, 2017
Transformers: The Premake (a desktop documentary), 2014
Kevin B. Lee
Slowness and Slow Cinema, 2017
FX’s LEGION and Post-Cinematic Television, 2017
Questioning the Human Machine in EX MACHINA, 2016
Allison de Fren
New Forms of Racism in the Post-Cinematic Dispositif, 2017
Jace Alexander Casey
A Closer Look at/into Depth Perception: Illusion, Impression, and Indexicality in Animation, 2017
VHS Found Footage and the Material Horrors of Post-Cinema, 2015