Syllabus for “The Video Essay: Writing with Video about Film and Media” (Stanford, Fall 2017).
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.
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.
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
Starting May 1, I am proud to present an exhibition of video essays, including works by well-known scholar-filmmakers Allison de Fren and Kevin B. Lee, as well as students from my “Post-Cinema” seminar. Selected videos deal with a range of topics, including digital animation, Beyoncé’s Lemonade and the visual album, contemporary horror, slow cinema, transmedia franchises and post-cinematic television, and more.
Click here or on the image above to view the slides from today’s workshop on “Deformative Criticism & Digital Experimentations in Film & Media Studies” at the 2107 SCMS conference.
Also, see here for a Google Doc with my contribution (“Glitch Augment Scan”) — including thoughts on AR, examples, and a super-simple AR tutorial — as well as links to videos, code, experiments, and deformations by my co-panelists Stephanie Boluk, Kevin Ferguson, Virginia Kuhn, Jason Mittell, and Mark Sample.