Chicago Freedom Movement


Project Team: Jim Ralph

About: “In 1965, the country’s most effective civil rights leaders joined forces in Chicago to attempt the first civil rights campaign in a large Northern city. Focusing on open housing, the movement enlisted thousands of people to march through Chicago’s streets and into its real estate offices. This site chronicles the peopleorganizations, and events that formed the movement, and brings together a vast collection of movement material.”

Field House Museum


Project Team: Holly Allen

About: “The exhibits on this site were generated by students in a Winter term course, “Designing a Field House Museum,” in collaboration with faculty, archivists, athletic administrators, and representatives of Sasaki Associates, the architectural firm charged with designing the new Field House. Each exhibit offers a thematic approach to Middlebury sports history. A separate exhibit features interviews with Middlebury coaches and administrators. Finally, we have created a timeline of Middlebury athletics.”

[in] Transition


Project Team: Chris Keathley, Jason Mittell

About: [in]Transition is a collaboration between MediaCommons and the Society for Cinema and Media Studies’ official publication, Journal of Cinema & Media Studies – is the first peer-reviewed academic journal of videographic film and moving image studies, and is fully open access with no fees to publish or read. Subscribe to our email list to receive links to new issues.

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 film and moving image 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.

Though a number of other outstanding sites present videographic work, none has yet received the disciplinary validation that is accorded to written scholarship. In large part, the strictures of written academic discourse pose a challenge for this nascent form of multi-media ‘writing’. [in]Transitionaims to address this challenge. This journal is designed not only as a means to present selected videographic work, but to create a context for understanding it – and validating it – as a new mode of scholarly writing for the discipline of cinema and media studies and related fields. This goal will be achieved through editorial curating of exemplary videographic works, through critical analysis and appreciation, pre-publication open peer review and ongoing peer commentary.

Most posts on [in]Transition features three elements: a videographic work, a statement by the creator of the video, and one or two signed peer reviews solicited by the editorial team. These peer reviews indicate the gatekeeping process that preceded the publication of the video, with experts evaluating the project, offering feedback for potential revisions, and recommending publication. Reviewers have a chance to revise these reviews for publication, focusing on how the video and accompanying statement function as scholarship. The goal of presenting these reviews openly is to set the terms of evaluation for videographic work, and contextualize it for acceptance and validation by our discipline.

We hope that the process of peer review does not end upon publication. [in]Transitionis committed to a vigorous open peer commentary process. Registered users of MediaCommons are invited to comment on and engage in dialogue with other readers and creators about published work. This commentary is a crucial component of the disciplinary dialogue that must take place if videographic works are to be accepted as scholarship. This dialogue can serve to further define the formal criteria we expect from distinguished videographic work. We invite readers to register with MediaCommons and engage with us in this stimulating and important dialogue concerning the future of videographic work as a scholarly form.

Note that for the first four issues of [in]Transition, the co-editors and invited members of the editorial board selected existing videographic works to present as exemplary of the form. These issues select and organize works thematically, around the various formal features that have already begun to take shape in videographic practice. Each selected work is accompanied by a short critical essay that explains and justifies the work in two ways: for its creative use of multi-media tools; and for the way it creates a ‘knowledge effect’ – that is, for its impact as scholarship. These initial curated works and conversations set the groundwork for the ongoing presentation and validation of videographic criticism.

Middlebury History Online


Project Team: Special Collections and Archives

About: “In Fall 2005, Middlebury College was approached by Judith Tichenor Fulkerson, Class of 1956, with a proposal to create a digital archive of documents related to the history of Middlebury College beginning with its founding in 1800 through the early 20th century. These documents include manuscript letters, journals, diaries, and archival records, as well as books, journals, other published works, and photographic images that directly relate to the College’s founders, faculty, students, and alumni.  Mrs. Fulkerson, an alum and former member of the College Board of Trustees, is a descendent of Isaac Tichenor, the Governor of Vermont who granted and signed the original Middlebury College Charter in 1800. The donation was Mrs. Fulkerson’s 50th Reunion Gift to the College.

Middlebury History Online is a work in progress. As digitized archival materials are created, this online archive will continue to grow. The essays under the category Architecture & landscapes are taken from Glenn Andres’ Walking History of Middlebury and are used with his permission. The essays for several of the twentieth and twenty-first century College presidents are adapted from David Haward Bain’s The College on the Hill and are used with his permission.”

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The South China Sea


Project Team: David Rosenberg

About: “Bordered by some of the world’s most rapidly industrializing countries and traversed by some of the world’s busiest shipping lanes, the South China Sea is also a unique ecosystem and a repository for valuable natural resources. Countries around the South China Sea, however, have usually been more concerned with maximizing national economic growth and ensuring adequate energy supplies than in preserving their common maritime environment. Consequently, this oceanic hub of the industrial revolution of Asia is becoming a sink for regional environmental pollution and an area of conflicting territorial claims. 

What are the countries around the South China Sea doing about their growing problems of regional environmental pollution and conflicting resource and territorial claims? How will the expanding and urbanizing coastal population achieve sustainable development? Based on the premise that regional problems require regional solutions, this website aims to provide scholars and policy-makers with an online guide to information and reference resources about common regional development, environment, and security issues around the South China Sea.”