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Practitioners of these forms (which include, inter alia, the ‘video essay’, ‘audiovisual essay’, and ‘visual essay’ formats) explore the ways in which digital technologies afford a new mode of carrying out and presenting their research.
The full range of digital technologies now enables film and media scholars to write using the very materials that constitute their objects of study: moving images and sounds.
An acute consciousness of her ‘then’, before her death, condenses with the image as death mask and the poignant presence of the index as ‘this was now’." [Laura I’ll be producing a video essay comparing the video works of the hacker collective Anonymous to Vertov and Eisenstein’s films and including interviews with Anonymous video producers. Are there enough video essayists to warrant a regular online journal? Adam, Great to hear from you (and I hope you’re well! As for your questions about the future, we are formalizing our submission guidelines and we will be posting them soon.
The first four issues of this quarterly journal will be featuring curated “reprints” (for lack of a better term).
This goal will be achieved through editorial works, through critical analysis and appreciation, pre-publication peer review and Open Peer Commentary.
For the first four issues of [in]Transition, the co-editors and invited members of the editorial board will select existing practice.
We are deeply honored that she has joined our editorial board, along with a number of other scholars whose own foundational contributions to film studies in the last decades also extend to (Howard Hawks, 1953), in order to analyze the precision of Marilyn Monroe’s dance movements and as a tribute to the perfection of her performance.
In addition to the artificial, stylized persona, evocative of the beautiful automaton [in Martin Arnold’s (1989)], her gestures are orchestrated around moments of pose.
If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file.
The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.
In her 2006 book Death Twenty-four Times a Second, a foundational text for digital film studies in so many ways, re-edited a 30-second movement sequence, stretching it into three minutes, pausing on Monroe’s gestures and repeating the sequence, twice slowed down and silent, but beginning and ending with normal speed.