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 MittellStar Studies in TransitionBut Is Any Of This Legal?Videographic ExercisesGallery of All ExercisesCreditsChristian Keathley0199b522721abf067a743773a226b6064fe22f8cJason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deCatherine Grantc9eab209ad26b2e418453515f6418aa2cbe20309
M*A*S*H Multiscreen
12019-06-11T19:20:05-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945de75431A multiscreen exercise by Casey McCormickplain2019-06-11T19:20:05-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deTo pair with her own media object, the final episode of the CBS television series M*A*S*H (U.S.A., 1972–83), Casey McCormick borrowed images and a quotation from Nike Nivar Ortiz’s epigraph for his film, Sleep Dealer (Alex Rivera, U.S.A./ Mexico, 2008)—a science fiction film about borders and security set in the near future—as well as the audio, taken from his voice-over assignment, of a military drone operator describing the experience of controlling these modern weapons of war.