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The Videographic Essay: Practice and Pedagogy

Catherine Grant

Catherine Grant is Professor of Digital Media and Screen Studies at Birkbeck, University of London. A prolific experimental video-essayist, she has authored and edited numerous studies of audio-visual forms of film and moving image research and scholarship, including screenstudies.video (2019), a monographic website collecting and reflecting on her own practice; and another website collection The Audiovisual Essay (2014-present). She is also creator of Film Studies for Free and a co-founding editor of [in]Transition: Journal of Videographic and Moving Image Studies.

Related Writings on Videographic Criticism:

Catherine Grant, “Film and Moving Image Studies: Re-Born Digital? Some Participant Observations,” Frames Cinema Journal, no. 1 (July 2012)
Catherine Grant, “The Shudder of a Cinephiliac Idea?: Videographic Film Studies Practice as Material Thinking,” Aniki : Portuguese Journal of the Moving Image 1, no. 1 (January 2014): 49–62
Catherine Grant, “The Remix That Knew Too Much? On Rebecca, Retrospectatorship and the Making of Rites of Passage,” The Cine-Files, no. 7 (Fall 2014)
Catherine Grant, “Film Studies in the Groove? Rhythmising Perception in Carnal Locomotive,” NECSUS European Journal of Media Studies, June 15, 2015
Catherine Grant, “The Audiovisual Essay as Performative Research,” NECSUS European Journal of Media Studies, Autumn 2016
Catherine Grant, “Beyond Tautology? Audio-Visual Film Criticism,” Film Criticism 40, no. 1 (January 2016)
Catherine Grant, “Screen Memories : A Video Essay on Smultronstället / Wild Strawberries,” Cinergie – Il Cinema e Le Altre Arti 7, no. 13 (July 12, 2018): 21–29
Catherine Grant and Christian Keathley, “The Use of an Illusion: Childhood cinephilia, object relations, and videographic film studies,” Photogénie, June 19, 2014

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The above video forms an integral part of Catherine Grant’s contribution to THE VIDEOGRAPHIC ESSAY, a now online and open access collection of work edited by Christian Keathley, Jason Mittell and Catherine Grant (2019). Focusing on a number of videographic explorations of matters of film editing (including her study of the dissolves and "Hollywood montages" in David Lean’s 1945 BRIEF ENCOUNTER, a film that is currently celebrating the 70th anniversary of its release), Grant explores what such practical and audiovisual modes of research and presentation—ones which themselves evidently turn on editing—can add to the study of a feature that (with a number of key exceptions) has not received much sustained attention to date in written film scholarship.