What is Videographic Criticism?

Since the introduction of the study of film and other modern media into academia, scholarship on those topics has typically been presented and published in the same fashion as in other fields of study – in books and critical essays. But the dramatic evolution of media technology over the past two decades affords boundless possibilities for presenting of humanities scholarship, especially scholarship whose object is media itself – motion pictures, television, and other electronic audiovisual forms. The core challenges facing this emerging mode of scholarship are not just technological, but also pedagogical and rhetorical. But most scholars are not trained to conceptually engage with moving-image media as a mode of scholarly rhetoric, and academic fields have not reconciled how to position such work as part of systems of research, professional development, and peer-review. This workshop offers a unique opportunity for film and media scholars to learn digital techniques to innovate within this new mode of academic rhetoric and presentation.

What is neorealism? from kogonada on Vimeo.

In 2014, MediaCommons and Cinema Journal, the official publication of the Society for Cinema Studies, joined to create [in]Transition, the first journal devoted exclusively to peer reviewed publication of videographic scholarly work. The leaders of this workshop are editors of [in]Transition, and will discuss the publication and peer review process, as well as reflect on the pedagogical opportunities of teaching videographic criticism.

50 Years On from Christian Keathley on Vimeo.

For more reflection on the form of videographic criticism, see: Christian Keathley, “La Caméra-stylo: Notes on video criticism and cinephilia,” in The Language and Style of Film Criticism, ed. Alex Clayton and Andrew Klevan (New York: Routledge, 2011); and Catherine Grant & Christian Keathley, “The Use of an Illusion,” Photogenie 0, 2014.