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
The Water Nymph Multiscreen
12016-04-30T12:36:28-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945de75431An exercise by Vicki Callahanplain2016-04-30T12:36:28-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deVicki Callahan built on Tracy Cox-Stanton’s earlier exercise on voice-over, using the close-up of Catherine Deneuve and intercutting first with images and dialogue from Kristen Warner’s selected film, Imitation of Life, and then with her own, The Water Nymph (Mack Sennett, U.S.A.), a 1912 silent short comedy featuring Mabel Normand. Here, the voice-over registers not as internal monologue (as it did in Tracy’s original piece), but as a recollected dialogue; and in combination with the images, the video evokes a present sadness, a past happiness and the perhaps misguided attempts to recover it. It is notable that Vicki’s source film was quite challenging to work with, given its short eight-minute running time and lack of sound beyond music, and thus her exercises were far more limited in options to draw upon than the other participants’ films.