by Nicolas Bailleul As a mostly stationary filmmaker, I was inclined to believe that documentaries filmed in offices and in bedrooms would erase the physical presence of the auteur. While viewing desktop documentaries I asked myself if the physical traces on screen of the stationary documentary filmmaker, such as the uncontrollable camera shaking that might […]
by Chloé Lavalette My research trip to New York at the beginning of 2017 closely followed the brutal and unexpected death of my 63-year-old father Christian Lavalette. He was a recently-retired man, a graphic designer, a painter, engraver and editor, and died in three days from a septicemia while he was himself on a trip […]
by Alice Lenay and Théophile Gay-Mazas In this visual and performative setup, my body is embedded in a video of the Olympic Games. We focus on a specific sequence from the 1996 Olympics, when the gymnast Kerri Strug injured her ankle but continued the competition to win the gold medal for her team. By being […]
xena’s body by Occitane Lacurie https://vimeo.com/879454111 How close is my phone to my body? How far does the entanglement of knowledges and power that dwells on my screen under my fingertips take the data I feed it? First, I thought my iPhone was the technologically-enhanced version of the little hand mirror one uses to […]
by morgane frund Link to the audiovisual essay I don’t really like to think about my body, let alone be creative with it. I hardly ever dance or perform ‘physically’. I tend to rely a lot more on words and voice to express myself. Because of that, I decided to approach the theme from a […]
by Chloé Galibert-Laîné Although it has received different names over time, from ‘interface film’ to ‘screen-life movie’, a consensus seems to have emerged among practitioners and researchers as to what defines a desktop film: it is the product of a filmmaking method that ‘uses screen capture technology to treat the computer interface (its screen space, […]
by Nicolás Medina Marañón and Miklós Kiss Our video departs from an interest in the use of the split screen in Vince Gilligan and Peter Goud’s television series Better Call Saul. More specifically, we are interested in the use of the split screen as both a technique featured in the show as well as a […]
by Daniel O’Brien by Daniel O’Brien This twenty-six-minute video essay explores ideas of the time-loop on screen. It examines a range of films to argue that the concept of the time-loop can be found within the mechanics of the computer game, particularly in the aspect of failure and repetition (considered through ludologist Jesper Juul’s 2013 […]
by Veronika Hanáková, Martin Tremčinský, Jiří Anger Cycles of Labour: In the Metaverse, We Will Be Housewives from Veronika Hanáková on Vimeo. During the twentieth century, housework has become an endless cycle of work that usually goes without social recognition. Even though housework became one of the building blocks of social reproduction, society at […]
by TRIPOT In this audiovisual essay, our aim was to explore the cyclical nature of the ‘Oddly Satisfying’ and ASMR ‘sensory genres’ [1] in relation to contemporary internet audiences searching for embodied experiences of pleasure and comfort. The visual source material we used consisted of online videos connected to the OS genre, while the auditory […]
by Yevhen Vorozheikin [1] The time loop can be seen as an almost established plot device in films and television series, but there are ways of using it in unusual and unique manners, such as in Endless Eight. Endless Eight is a narrative arc of the second season of the anime The Melancholy of Haruhi […]
by Johannes Binotto Desk, this word for a ‘table especially adapted for convenience in reading or writing’, as the dictionary explains, is derived from the medieval Latin ‘desca’ and ultimately from the Greek ‘diskos’, which means quoit, platter, or dish. Thus, a quick look into the etymology of the term infuses it with a mobility […]
by Brunella Tedesco-Barlocco Television series are filled with images that populate our memory, whether striking in their uniqueness, symbolism or emotional intensity, or familiar in their constant repetition. Although, as Amy Holdsworth criticises, television has often been derided by its presumed ‘ephemerality’ and ‘forgettability’, it is nevertheless ‘part of both a material network of memory […]
by Ritika Kaushik This video essay is a critical and self-reflexive reaction to the digital afterlife of the government film I am 20 (1967), made by experimental filmmaker S.N.S. Sastry, who worked for India’s primary state institution of documentary filmmaking – Films Division of India (FD). The film was commissioned for the twentieth anniversary of […]
by Ariel Avissar This video is my response, in desktop documentary form, to the other four videos included in this audiovisual section (by Johannes Binotto, Katie Bird, Brunella Tedesco-Barlocco, and Ritika Kaushik). This seeks to serve as an alternative to the traditional, written form of response to videographic works, as is the case in most […]
Martine Beugnet
University of Paris 7 Diderot
Greg de Cuir Jr
University of Arts Belgrade
Ilona Hongisto
University of Helsinki
Judith Keilbach
Universiteit Utrecht
Skadi Loist
Film University Babelsberg Konrad Wolf
Toni Pape
University of Amsterdam
Maria A. Velez-Serna
University of Stirling
Andrea Virginás
Babeș-Bolyai University
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