by Catherine Grant By tentatively circumscribing one spectrum or continuum of the field for the purposes of this section – with digital, found footage collage at one end and the film/media essay at the other – we hope to orient the thoughts and works of our contributors and readers toward those audiovisual possibilities that actively […]
by Hugo Emmerzael Last year the International Film Festival Rotterdam hosted the second edition of the renewed Critics’ Choice program, in which film critics were invited to introduce a film of the program with a video essay. Films reflecting on film, in front of a live audience that could ask questions to the video essayist […]
by Paula Albuquerque A Crackup at the Race Riots (2015) is a film made by the Belgian artist trio Leo Gabin and inspired by Harmony Korine’s homonymous novel. With most material coming from Florida, the film consists of a collage of imagery found on YouTube. This mostly consists of home videos or fragments from vlogs […]
by Dana Linssen For its 2016 edition the Critics’ Choice program at the International Film Festival Rotterdam once again presented a wide array of video-essays on the big screen. The selection of films and video-essayists was inspired by the question ‘Whose Cinema’ and gave way for discussions about intellectual property rights, image appropriation, and how […]
by Juan Daniel F. Molero ‘It’s amazing that Steven Spielberg needed $20 million to make Raiders of the Lost Ark, and my dad only had his allowance’, says the son of one of three Mississippi teenagers who created a shot-for-shot remake of Spielberg’s film in the late 1980s. It all started as a fan project […]
by Cristina Álvarez López and Adrian Martin It is sometimes observed that the burgeoning form of the audiovisual essay (of the analytic kind that has been featured in recent issues of NECSUS) is good for close, detailed work on individual films, television episodes, or digital art works, but less suitable for the type of broader […]
by Pasquale Iannone I have often been frustrated that outside of Italy, and for English-language audiences in particular, the great Italian actress Monica Vitti is known almost exclusively for her collaboration with Michelangelo Antonioni in films such as L’Avventura (1960), La notte (1961), L’eclisse (1962), and Red Desert (1964). These films are undoubtedly groundbreaking, and […]
by Henrike Lindenberger
by Philip Brophy
Vivian Sobchack: As a phenomenologist, I very often, although certainly not always, begin with my own specific experience as I start thinking and writing something. And then I generalize these specifics as larger structures of experience. […E]ven when I’m in first person mode, I leave ‘me’ (in the egological sense) to look at the structure […]
At a recent one-day conference at the University Of East Anglia (19 May 2015) devoted to the audiovisual essay in the contexts of university teaching, research, and research-led teaching, the final paper by art historian Nick Warr was provocatively titled ‘The Elephant in the Room: The Critical Relationship Between Video Art and the Video Essay’. […]
by Dirk de Bruyn
by Laura Lammer
by Cristina Álvarez López & Adrian Martin The audiovisual essay is not a strict genre or a delimited form – it is the name for a burgeoning field of inquiry, research, and experimentation within academia and also beyond it; the expression of critical, analytical, and theoretical work using the resources of audiovisuality – images and […]
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
We would like to thank the following institutions for their support:
NECS–European Network for Cinema and Media Studies is a non-profit organization bringing together scholars, archivists, programmers and practitioners.
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