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
12016-04-30T14:08:31-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945deGallery of All ExercisesJason Mittell8structured_gallery2019-06-11T21:05:38-07:00Jason Mittell06e96b1b57c0e09d70492af49d984ee2f68945de
12016-04-30T12:33:14-07:00Multiscreen PechaKuchas1An exercise by Shane Densonplain2016-04-30T12:33:14-07:00Shane Denson did something totally unexpected with the multiscreen format: rather than engage with one or two participants’ films, Shane used everyone’s (plus one extra, selected by Ethan Murphy), organising all the PechaKucha assignments into a sixteen-panel grid. Interestingly, we all assumed that he had manipulated the sound tracks, elevating some and lowering others at various moments throughout— but he hadn’t. The effect was certainly cacophonous, but managed to create an overall macro rhythm that spoke to the tendencies of the PechaKuchas as a whole, rather than the construction of any individual film. Given that Shane’s selected film, Frankenstein (James Whale, U.S.A., 1931), concerns the assembly of pieces into a new whole, the Franken-PechaKucha oddly evoked many of the themes he had been exploring in his film.