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
12019-12-20T12:35:24-08:00The Videographic Essay12Table of Contentsplain2774612019-12-21T08:28:44-08:00Welcome to The Videographic Essay, a collection of writings about and examples of videographic criticism, edited by Christian Keathley, Jason Mittell, and Catherine Grant. As an open access, multimodal site of scholarship, this site will evolve over time, expanding the collection of examples and revising writing as relevant. Earlier versions of some of these writings were published in 2016 and 2019 by caboose books in the volume The Videographic Essay: Criticism in Sound & Image. This site offers the most accurate and stable versions of this material, and we ask that you cite and reference this version: Christian Keathley, Jason Mittell, and Catherine Grant, The Videographic Essay: Practice and Pedagogy, 2019, http://videographicessay.org
This material emerged from ‘Scholarship in Sound & Image,’ three workshops on videographic criticism that were hosted at Middlebury College in June 2015, 2017, and 2018; since 2019, the workshop has continued as part of Middlebury College's Digital Liberal Arts Summer Institute. The three original workshops were funded by two grants from the National Endowment for the Humanities Institute for Advanced Topics in the Digital Humanities program. Any views, findings, conclusions or recommendations expressed in this publication do not necessarily represent those of the National Endowment for the Humanities.