[Catherine Grant's introduction to the above video:] My presentation to this workshop has a somewhat strange take on the notion of the capacity of "video-writing" to move beyond the "illustrated text". The video it presents (embedded above) not only uses a good deal of text, but was also originally inspired by the idea of audiovisually amplifying, or supplementing, a long pre-existing written study of Alfred Hitchcock's 1948 film Rope.
What making it demonstrated to me is that, in scholarly settings, even the simplest videographic act of presenting an assemblage of compiled film sequences involves medium-specific forms of argumentation, for example, the selection and presentation of audiovisual evidence, montage and mise en scene, titling, sound editing and other creative effects, all aiming to draw from "a broader notion of pathos, logos, and ethos than that which has been reified in the age of print literacy", as Virginia Kuhn has put it.* The result is not only the creation of an audiovisual argument, therefore, but also, importantly, of an active viewing space for live co-research - a framed experience of participant observation which, particularly through its online distribution, dialogically invites responses (including rebuttals!) through forms of remix. [Also see
Bonus Tracks: The Making of Touching the Film Object and Skipping ROPE (Through Hitchcock’s Joins) and Déjà-Viewing?Videographic Experiments in Intertextual Film Studies]
*Kuhn, Virginia. 2012. "The Rhetoric of Remix." In "Fan/Remix Video," edited by Francesca Coppa and Julie Levin Russo, special issue, Transformative Works and Cultures, no. 9. Online at dx.doi.org/10.3983/twc.2012.0358.
S23 Workshop chaired by Virginia Kuhn (University of Southern California), with presentations by Vicki Callahan, Catherine Grant, Michael Lachney, Virginia Kuhn and Cheryl Ball. The workshop was sponsored by the Media Literacy and Pedagogical Outreach Scholarly Interest Group. The full 2013 SCMS Conference Program PDF is here.
is happy to present links to some resources pertaining to papers or presentations at the (recently concluded) annual conference of the Society for Cinema and Media Studies at the Drake Hotel in Chicago.
FSFF's author's own contribution to the conference, embedded and pasted in above, was part of a workshop panel on "Writing with Video" (see all of the assets from this workshop gathered by Virginia Kuhn
here). In the end, this year -- for the same reasons it's been so quiet at this blog (major, unexpected construction work taking place at home at the same time as a very busy semester!) -- she was unable to travel to the US to attend this final session of the conference in person. But, thanks to the wonders of modern technology her work was kindly presented in absentia by her fellow panelists. Among these,
Vicki Callahan and
Michael Lachney presented on their pedagogical practices around teaching video argumentation as part of multimedia literacy programmes. In particular, Callahan discussed her classroom use of online video collaborative authoring tools including
WeVideo.
Cheryl Ball discussed her experience as editor of
Kairos: A Journal of Rhetoric, Technology, and Pedagogy (see Ball's fabulous essay for
Kairos on digital scholarship
here). And workshop chair
Virginia Kuhn presented on her highly innovative
large scale video analysis project, a wonderful example of the potential for humanities supercomputing (also see
here).
Below are links to a whole host of further conference contributions, mostly collected via
Twitter. Thanks very much to those who supplied the links. If you have posted your own SCMS paper online, or know of others not gathered below, please leave the link in a comment. Thank you!
- Tyler Bickford, '“The Best of Both Worlds”: Hannah Montana, “having it all,” and postfeminist tween domesticity' (Thanks to Anthony C Bleach for the link)
- Shane Denson, 'Crazy Cameras, Discorrelated Images, and the Post-Perceptual Mediation of Post-Cinematic Affect'
- Theresa Geller, '"The Hardest, The Most Difficult Film:" Todd Haynes’ Safe as Feminist Film Praxis' (Thanks for the link to Julia Leyda)
- Richard Grusin, 'Post-Cinematic Atavism'
- Justin Horton, 'Disembodiment and Ecstatic Perception in The Tree of Life'
- Amanda Ann Klein, '“To Dance Again!”: Affect, Genre, and the HARRY POTTER Franchise'
- Julia Leyda, 'Playing with Dolls: Girls and Fans in Velvet Goldmine'
- James MacDowell, 'Value, Intention, and the Aesthetics of "So Bad It's Good"'
- Jason Mittell, 'Mapping a Pluralistic Field: What Does Television Studies Really Look Like?'
- Munib Rezaie, 'The New Chinese Mainstream? Dayyan Eng and Ning Hao’s Appeal for Young Urban Moviegoers in the People’s Republic of China' (Thanks to Justin Horton for the link)
- Steven Shaviro, 'Response to panel on “primordigital cinema,” with talks by Jonathan Freedman, Richard Grusin, and Selmin Kara'
- Chuck Tryon, 'Families are Complicated: Netflix Kids, Personalization, and Digital Delivery'
- María A. Vélez-Serna, 'Film distribution in Scotland in the 1910s: A case study in artificial scarcity as institutional strategy'
- Neil Verma, 'Sound Studies at SCMS 2013'
Also see:
