The Videographic Essay: Practice and PedagogyMain MenuThe Videographic EssayTable of ContentsIntroduction, Acknowledgements, and Further ReadingScholarship in Sound & Image: A Pedagogical EssayPedagogical essay authored by Christian Keathley and Jason MittellDissolves of PassionIn Dialogue: Eric Faden and Kevin B. LeeBecoming Videographic Critics: A Roundtable ConversationA conversation among practitioners curated by Jason MittellBut Is Any Of This Legal?Videographic ExercisesGallery of All ExercisesCreditsChristian Keathley0199b522721abf067a743773a226b6064fe22f8cJason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deCatherine Grantc9eab209ad26b2e418453515f6418aa2cbe20309
Affair in Trinidad Voiceover Exercise
12019-06-11T18:23:51-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945de75435An exercise by Susan Harewoodplain2019-06-11T18:33:36-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deSusan Harewood’s exercise expanded well beyond the specifics of her chosen object, Affair in Trinidad (Vincent Sherman, U.S.A., 1952), to implicate those colonialist nations that offer films boasting an uncanny combination of myth-making skill and historical ignorance. Harewood’s amusing anecdote and her somewhat chatty tone, marked by her own Caribbean accent, put you at your ease—until her last lines strike with sudden force.
12019-06-11T18:21:57-07:00Affair in Trinidad Voiceover Exercise1A videographic voiceover exercise on Affair in Trinidadplain2019-06-11T18:21:57-07:00Critical Commons2018VideoAffair in TrinidadSusan Harewood2019-06-11T18:07:54Z