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Journal of Videographic Film & Moving Image Studies, 10.4B, 2024

Curated by
Ariel AvissarTel Aviv University

TV Dictionary - Hannibal

By Karin Spisakova
Reviewed by Ariel Avissar

TV Dictionary - I May Destroy You

By Joy Hunter
Reviewed by Barbara Zecchi

TV Dictionary - Terrace House

By Rotem Sudman
Reviewed by Colleen Laird

TV Dictionary - Actor

By Jan Kinzl
Reviewed by Jiří Anger, Veronika Hanakova

TV Dictionary - Neon Genesis Evangelion

By James DeLisio
Reviewed by David.Martin-Jones

TV Dictionary - Fleabag #2

By SharonAbramovich
Reviewed by Evelyn Kreutzer

TV Dictionary - Maid

By Niki Radman
Reviewed by Ariel Avissar

Journal of Videographic Film & Moving Image Studies, 10.4A, 2023

Curated by
Ariel AvissarTel Aviv University

The Age of Longing

By Lia Dekel
Reviewed by Oswald Iten

Thoughts on “In Praise of Blur”

By Ron Shetrit
Reviewed by Richard Misek

Space Perception / Movement in Water

By Shira Havron Ido Harambam
Reviewed by Catherine Grant

Saturday Fight Fever

By Nitzan Kimel Nadav Leshem
Reviewed by Kevin Lee

The Constant Tension Between Speed & Stillness

By Katia Arieli
Reviewed by Grace Lee

Experiments on Women’s Time-Image / Liminal Time

By Alma Rechter Maya Gadash
Reviewed by Jessica McGoff

Journal of Videographic Film & Moving Image Studies, 10.3, 2023

Curated by
Catherine FowlerUniversity of Otago

Feminist Videographic Diptychs: Introduction

By Catherine Fowler

Dressed to Kill Cis Hetero Patriarchy

By Nicole Morse
Reviewed by Rox Samer Laura Horak

chaste/unchaste

By Maryam Tafakory
Reviewed by Maria Walsh Catherine Grant

Mobilizing Women In a Few Easy Steps! (A Feminist Triptych)

By Melissa Dollman, PhD
Reviewed by Lee Grieveson Marina Dahlquist

The Responsive Eye, or, The Morning Show May Destroy You

By Catherine Fowler
Reviewed by Tanya Horeck Isabelle McNeill

Re-animating the vanishing woman: from invisible labour to embodied gesture

By Paola Voci
Reviewed by Kelly Gallagher Karen Pearlman

Resilient Ageing Women: A Question of Performance

By Maud Ceuterick
Reviewed by Barbara Zecchi Allan Cameron

Journal of Videographic Film & Moving Image Studies, 10.2, 2023

Curated by
Catherine GrantAarhus Universitet
Barbara ZecchiUniversity Massachusetts Amherst
Eva HagemanUniversity of Maryland College Park
Drew MortonTexas A&M University-Texarkana
Neepa MajumdarUniversity of Pittsburgh

A History Of The World According To Getty Images

By Richard Misek
Reviewed by Jennifer Proctor Eric Faden

Eye-Camera-Ninagawa

By Colleen Laird
Reviewed by Kate Taylor-Jones Jay McRoy

'Isn’t that going to be awfully dull and drab?' George Hoyningen-Huene’s use of neutrals

By Lucy Fife Donaldson
Reviewed by Sarah Street Paul Frith

Speculative Identification: (a character study)

By Samantha Close
Reviewed by Louisa Stein Melanie Kohnen

Extra Local: Extras as Actors in Breaking Away

By Jacob Smith
Reviewed by Aaron Taylor Patrick Keating

Men Shouting: A History in 7 Episodes

By Alan O'Leary
Reviewed by Jenny Oyallon-Koloski Cormac Donnelly

'Who Speaks?' Possessing Lyotard

By Oscar Mealia
Reviewed by David Sorfa William Brown

Vital Coasts, Mortal Oceans: The Pearl Button as Media Environmental Philosophy

By Matthew Holtmeier
Reviewed by Jeffrey Romero Middents

A Cinema of Bodily Sense

By Adam Cook
Reviewed by Corrado Neri Andrea Bachner

Embodied Visual Meaning [in] Motion

By Maarten Coegnarts
Reviewed by Stephen Mamber Miklos Kiss

Everybody’s Gotta Learn Sometime

By Drew Morton
Reviewed by Patricia Ventura Maria Pramaggiore

Cutting Across Time: Oblique Editing in Arrival 

By Gregory Brophy Shawn Malley
Reviewed by Anne Carruthers Ken Provencher

Journal of Videographic Film & Moving Image Studies, 10.1, 2023

Curated by
Catherine GrantAarhus Universitet
Barbara ZecchiUniversity Massachusetts Amherst
Eva HagemanUniversity of Maryland College Park
Chiara GrizzaffiUniversità IULM - Milan
Drew MortonTexas A&M University-Texarkana
Christian KeathleyMiddlebury College

GeoMarkr

By Chloé Galibert-Laîné Guillaume Grandjean
Reviewed by Alisa Lebow Virginia Kuhn

Mad Men's 'Babylon'. Mapping Out a Musical Metaphor

By Ariane Hudelet
Reviewed by Kathleen Loock Catherine Grant

Colors of Palestine

By Niall Ó Murchú Kevin Snyder Mark J Miller
Reviewed by Meryem Kamil Viviane Saglier

My Americans: Intertextual Meaning Making and Television Drama

By David R. Coon
Reviewed by Jason Mittell Isabel Pinedo

Home is Bleak. Is Home Bleak?

By Delal Yatci
Reviewed by Nikolina Dobreva Elif Akcali

The Feminist Narrative: Analysing the Location of Action

By Catherine Gough-Brady
Reviewed by Alexandra Juhasz Irene Gustafson

Rain: A Phenomenal Catalogue

By Stephen Broomer
Reviewed by Jasper Stratil Derek Long

@Concert: Liveness in the Time of Coronavirus

By Landon Palmer
Reviewed by Sureshkumar Sekar James Denis Mc Glynn

Journal of Videographic Film & Moving Image Studies, 9.4, 2023

Curated by
Ariel AvissarTel Aviv University
Evelyn KreutzerFilm University Babelsberg KONRAD WOLF
Catherine GrantAarhus Universitet
Chiara GrizzaffiUniversità IULM - Milan

Once Upon a Screen Vol. 2, Part 2, Introduction by Co-Guest Editors

By Evelyn Kreutzer Ariel Avissar
Reviewed by Katie Bird

Down a Dark Spiral

By Johannes Binotto
Reviewed by Maria Hofmann

En sortant du cinéma

By Evelyn Kreutzer
Reviewed by Chloé Galibert-Laîné

Insect Inside

By Gregory Brophy
Reviewed by Jiří Anger, Veronika Hanakova

That Moment

By Barbara Zecchi
Reviewed by Cormac Donnelly

The 39 Shots

By Ariel Avissar
Reviewed by Philip Brubaker

Vanity Plate

By Will Webb
Reviewed by Evelyn Kreutzer, Ariel Avissar

A Song of the Era

By Clair Richards
Reviewed by Alan O'Leary

Recreated Memories

By Oswald Iten
Reviewed by Julia Schoenheit

Journal of Videographic Film & Moving Image Studies, 9.3, 2022

Curated by
Ariel AvissarTel Aviv University
Evelyn KreutzerFilm University Babelsberg KONRAD WOLF
Catherine GrantAarhus Universitet

Once Upon a Screen Vol. 2, Part 1, Introduction by Co-Guest Editors

By Ariel Avissar Evelyn Kreutzer
Reviewed by Catherine Grant

The Clown, The Tree, The Shadows

By Jiří Anger Veronika Hanakova
Reviewed by Clair Richards

Who’s the Monster Now

By Maria Hofmann
Reviewed by Gregory Brophy

Radical Elsewhere

By Philip Brubaker
Reviewed by Johannes Binotto

In The Control Room

By Julia Schoenheit
Reviewed by Evelyn Kreutzer

Can I Remember It Differently?

By Cormac Donnelly
Reviewed by Ariel Avissar

True Enough

By Chloé Galibert-Laîné
Reviewed by Will Webb

Angstlust

By Alan O'Leary
Reviewed by Oswald Iten

Mirror, Mirror

By Ariel Avissar Evelyn Kreutzer
Reviewed by Barbara Zecchi

Journal of Videographic Film & Moving Image Studies, 9.2, 2022

Curated by
Catherine GrantAarhus Universitet
Neepa MajumdarUniversity of Pittsburgh
Juan Llamas-RodriguezUniversity of Pennsylvania, Annenberg School for Communication
Christian KeathleyMiddlebury College
Drew MortonTexas A&M University-Texarkana

shiplap

By Eva Hageman
Reviewed by Brandy Monk-Payton Terri Francis

Displacement, Intimacy & Embodiment: Nearby Alain Gomis’ Multi Sensory Cinema

By Estrella Sendra
Reviewed by Sada Niang Vlad Dima

Four Ways to Be a Woman Artist… According to the Movies

By Susan Felleman Hannah Shikle
Reviewed by Belén Vidal Lucy Fife Donaldson

That’s a Long Time… A RECTIFY Video Essay

By Christine Becker Tanner Cipriano
Reviewed by R. Colin Tait Elana Levine

Alan Bates ‘78

By Jacob Smith
Reviewed by Melanie Williams Jennifer O'Meara

Like There’s No Tomorrow

By Joel Blackledge
Reviewed by Selmin Kara Shane Denson

Why So Serious? Clowning, the Method, and Performative Adaptations of the Joker

By Aaron Taylor Bryn Hewko C. Blake Evernden Ryan Harper-Brown
Reviewed by Tosha Taylor Drew Morton

Journal of Videographic Film & Moving Image Studies, 9.1, 2022

Curated by
Catherine GrantAarhus Universitet
Katie BirdThe University of Texas at El Paso
Hoi Lun LawUniversity of Edinburgh
Chiara GrizzaffiUniversità IULM - Milan
Kevin L. FergusonQueens College / CUNY
Neepa MajumdarUniversity of Pittsburgh

The Stairwell

By Stephen Broomer
Reviewed by Amanda Ann Klein Serena Bramble

Ripple, rustle, shimmer and shake: the cinematic rapture of grass

By Anne Rutherford
Reviewed by Lucy Fife Donaldson Jennifer Barker

The Spaces Beyond: Experimenting with the Theory of Audiovisual Concrète

By Holly Rogers Heather Britton
Reviewed by Amy Skjerseth Christian Gosvig Olesen

Studio LAIKA and the Ghosts of Invisible Labor

By Mihaela Mihailova
Reviewed by Patrick Sullivan Andrea Comiskey

The End ...Or Is It?

By Mathias Bonde Korsgaard
Reviewed by Keith M. Johnston Sean O'Sullivan

Film-with-Live-Orchestra Concerts: A New Hope

By Sureshkumar Sekar
Reviewed by James Denis Mc Glynn Brooke McCorkle Okazaki

What is Neo-Snyderism?

By Ariel Avissar
Reviewed by James MacDowell Rob Stone

Journal of Videographic Film & Moving Image Studies, 8.3, 2021

Curated by
Catherine GrantAarhus Universitet
Christian KeathleyMiddlebury College
Ariel AvissarTel Aviv University

The Moment of Recognition: Phantom Lady and Sorry, Wrong Number

By Patrick Keating
Reviewed by Janet Bergstrom Daniel Morgan

Mediated Auscultation

By Emilija Talijan
Reviewed by Scott Curtis Neil Verma

Setting the Scene: The Opening 164 Seconds of The Wire

By Erlend Lavik
Reviewed by Jason Mittell Elizabeth Alsop

Barbara Stanwyck Rides Again

By Catherine Russell Shannon Harris
Reviewed by Maria Pramaggiore Jacob Smith

A Woman's Place: Home in Cinema

By Louise Radinger Field
Reviewed by Miriam de Rosa Jessica McGoff

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