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You are here: Home1 / audiovisual essay

Tag Archive for: audiovisual essay

Double Exposures: ‘Visual returns’ in the Deadwood and Breaking Bad sequel films

June 7, 2023/in Audiovisual Essays, Spring 2023_#Ports /by Greg DeCuir

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 […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2023-06-07 08:35:012023-06-07 08:35:01Double Exposures: ‘Visual returns’ in the Deadwood and Breaking Bad sequel films

Indians from 1967: A Reaction

June 7, 2023/in Audiovisual Essays, Spring 2023_#Ports /by Greg DeCuir

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 […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2023-06-07 08:35:002023-06-07 08:35:00Indians from 1967: A Reaction

Some Thoughts Occasioned by Four Desktops

June 7, 2023/in Audiovisual Essays, Spring 2023_#Ports /by Greg DeCuir

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 […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2023-06-07 08:35:002023-06-07 08:35:00Some Thoughts Occasioned by Four Desktops

With a Camera in Hand, I Was Alive

June 7, 2023/in Audiovisual Essays, Spring 2023_#Ports /by Greg DeCuir

Author Katie Bird is a former academic turned independent scholar and video essayist. Her research focuses on the role of manual labour and embodied thinking in the history and discourse of film technical craft practitioners and Hollywood unions. She has published on these topics in JCMS, The Velvet Light Trap, Spectator, [in]Transition, Film History, and BAFTSS Open Screens.

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2023-06-07 08:34:592023-07-18 10:43:57With a Camera in Hand, I Was Alive

Desktop documentary as scholarly subjectivity: Five approaches

June 7, 2023/in Audiovisual Essays, Spring 2023_#Ports /by Greg DeCuir

Desktop documentary has gained increasing prominence both within and beyond cinema and media scholarly practice. The recent ascendance of desktop filmmaking prompts an occasion to reflect on the current state of the practice. The five original desktop videos presented in this section offer such an occasion for reflection, particularly with regard to the distinguishing qualities and affordances of desktop documentary and desktop subjectivities for cinema and media scholarship.

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2023-06-07 08:34:592023-07-18 10:57:53Desktop documentary as scholarly subjectivity: Five approaches

The impersonal essay, or Montage as memory of the world

December 8, 2022/in Audiovisual Essays, Autumn 2022_#Materiality /by Greg DeCuir

The audiovisual essay has been conventionally associated with the subjective and the personal. On the other hand, this introduction makes a case for the adoption of an ‘impersonal’ voice or viewpoint as a tactical response to the overvaluation of the self that pervades our current media economy.

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2022-12-08 14:08:492022-12-14 09:23:56The impersonal essay, or Montage as memory of the world

Irresistible instrumentalism: Materially thinking through music-making in the story worlds of silent films

June 8, 2022/1 Comment/in Audiovisual Essays, Spring 2022_#Rumors /by Greg DeCuir

by Catherine Grant …the image of musical sound itself becomes contagious…[1]  Irresistible Instrumentalism, the video essay embedded above, explores the somewhat paradoxical depiction in early cinema of the visible playing by onscreen musicians of music that makes no sound in the world beyond the film’s diegesis – the portrayal of music, in other words, that […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2022-06-08 09:02:462022-06-19 12:20:25Irresistible instrumentalism: Materially thinking through music-making in the story worlds of silent films

The Gravity of the acousmêtre: Listening via the radio and through paratext in film     

June 8, 2022/in Audiovisual Essays, Spring 2022_#Rumors /by Greg DeCuir

by Liz Greene In 2013, two films were released that speak to each other via a radio conversation, Alfonso Cuarón’s feature length space adventure Gravity, and Jonás Cuarón’s short film Aningaaq. Both father and son, Alfonso and Jonás Cuarón, wrote the screenplay for Gravity, and while in the process of the film’s production Jonás made […]

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Synced

June 8, 2022/1 Comment/in Audiovisual Essays, Spring 2022_#Rumors /by Greg DeCuir

by Johannes Binotto The coupling of optics and acoustics in cinema is never a natural given, but always a construction dependent on technological intervention. As we all know, moving image and sound recording, although both already invented, failed for a long time to come together because they lacked synchronicity. Attempts to run a gramophone record […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2022-06-08 08:25:132022-06-19 12:23:12Synced

The place of the pop song in academic audiovisual film and television criticism

June 8, 2022/in Audiovisual Essays, Spring 2022_#Rumors /by Greg DeCuir

by Ian Garwood ‘The Place of the Pop Song in Academic Audiovisual Film and Television Criticism’ contributes to a discussion about the use of the pop song in the scholarly audiovisual essay, an area of videographic practice that has inspired scant self-reflection to date. The video operates in an explanatory mode, so I will allow […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2022-06-08 08:22:242022-06-19 12:14:55The place of the pop song in academic audiovisual film and television criticism

Sound and the audiovisual essay, part 2: The theory, history, and practice of film sound and music in videographic criticism

June 8, 2022/in Audiovisual Essays, Spring 2022_#Rumors /by Greg DeCuir

by Liz Greene This is the second part of a curated two-part audiovisual section on sound and music for NECSUS. The first section contained four audiovisual essays that centred on dialogue, music, and effects and was published in Autumn 2020. This second part (in the main) addresses theory, history, and practice in film sound and […]

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Desktop documentary: From artefact to artist(ic) emotions

May 16, 2021/in Features, Spring 2021_#Solidarity /by Greg DeCuir

One of the most distinguishing characteristics of desktop documentaries is their affordance of making and presenting a video at the same time: i.e., collapsing boundaries between revealing their thinking and tinkering research process (as unfolding, step-by-step, in front of our eyes) and the presentation of the outcomes of such ‘t(h)inkering’ (arriving at results and, thereby, justifying the presented research methods). They are ‘exploratory’ and ‘explanatorily argumentative’ in one. There is a particular effect that emerges from such transparent, credible, and effortless performativity – a relaxed and seemingly spontaneous presentation of an unfolding argument in an environment (software on desktop) and through methods (typing, dragging, opening files) that is familiar and rather natural to all viewers. In this paper, I aim to take a closer look at these fundamental qualities – ‘transparency’, ‘credibility’, ‘effortlessness’, and ‘performativity’ – respectively, and reveal their distinct as well as joint effects, ultimately resulting in what I will call, ‘artist(ic) emotions’.

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2021-05-16 16:21:042021-06-10 18:36:12Desktop documentary: From artefact to artist(ic) emotions

Teaching writing with images: The role of authorship and self-reflexivity in audiovisual essay pedagogy

December 11, 2020/in Autumn 2020_#Method /by Greg DeCuir

Methodologies for teaching audiovisual essays often map the discipline-specific objectives of the form and the practical and philosophical advantages it offers as a mode of assessment. However, a particular division has emerged between the kind of work created by students and the professional audiovisual criticism circulated by critics and scholars that is considered exemplary of contemporary practice. In this context, the role of the author as a self-reflexive agent can be seen as a link not only between students’ expectations of traditional written assessment and the fundamentally different imperatives of the audiovisual essay as a subjective mode of creative research, but also between audiovisual essay criticism and historical iterations of the essay form. This article explores the extensive redevelopment of a capstone undergraduate subject on audiovisual film criticism, undertaken via a fellowship awarded to develop teaching innovation and enhance curriculum design. We detail major pedagogical interventions, including a return to writing, examine key motivations in the development of course content, and establish the critical significance of encouraging students to think of themselves as authors – that is, to consider their own agency in the ways they encounter, interpret, and utilise images. Reflecting on some outcomes of the redeveloped subject, we pose it as a test case for a pedagogy that encourages students to think ambitiously with images, dissolving divisions between professional audiovisual criticism and audiovisual essays as a method of assessment. We argue that when thinking with images in this manner is embraced as a component of pedagogical methodology, students’ competencies with images can be leveraged to enable work that is academically rigorous, critically sophisticated, and evinces highly subjective authorial agency.

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2020-12-11 19:50:212020-12-14 05:25:14Teaching writing with images: The role of authorship and self-reflexivity in audiovisual essay pedagogy

Sound and the audiovisual essay, part 1: Dialogue, music, and effects

November 29, 2020/in Audiovisual Essays, Autumn 2020_#Method /by Greg DeCuir

This first part of a two-part issue on sound and music in the audiovisual essay considers the contribution of discrete areas of sound and music to film. Presenting these different approaches to researching sound and music provides an opportunity to collectively investigate the integrated soundtrack.

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The Elephant Man’s Sound, Tracked

November 29, 2020/1 Comment/in Audiovisual Essays, Autumn 2020_#Method /by Greg DeCuir

by Liz Greene ‘The Elephant Man’s Sound, Tracked’ sets out to investigate the clean-up of a line of dialogue, ‘I am not an animal, I am a human being, a man, a man’, in David Lynch’s The Elephant Man (1980), and explores the possibility of an alternate soundtrack or even picture edit being cut for […]

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https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png 0 0 Greg DeCuir https://www.necsus-ejms.org/wp-content/uploads/Necsus-01.png Greg DeCuir2020-11-29 16:54:322020-12-14 05:27:19The Elephant Man’s Sound, Tracked
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Editorial Board

Martine Beugnet
University of Paris 7 Diderot

Greg de Cuir Jr
University of Arts Belgrade

Judith Keilbach
Universiteit Utrecht

Skadi Loist
Film University Babelsberg Konrad Wolf

Toni Pape
University of Amsterdam

Belén Vidal
King’s College London

Andrea Virginás 
Babeș-Bolyai University

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