Welcome to issue 10.3 of [in]Transition, a special issue on 'Feminist Videographic Diptychs' conceived, produced and edited by Professor Catherine Fowler of the University of Otago, New Zealand, an esteemed member of [in]Transition's International Editorial Advisory Board. This special issue focuses upon the tendency to use comparison-as-method to produce what Fowler calls the ‘feminist videographic diptych’. She writes, in her introduction to the issue, that video essays like these:
take (typically) two or more women as their focus and compare them in some way, often, but not always, using split/multi-screen techniques. Initially the roots of this method and genre in other disciplines are worth identifying, since they help us to understand what is at stake when video essayists create comparisons which do not naturally exist, as well as what can be gained by adopting the diptych for feminist research.
We are very grateful indeed to Professor Fowler and all the contributors for their expertise as well as for the huge amount of work they have carried out to produce this issue.
Editors: Catherine Fowler (Editor), Catherine Grant (Co-editor), Barbara Zecchi (Co-editor)
Editorial
Research Articles
chaste/unchaste
Maryam Tafakory
2023-10-16 Volume 10 • Issue 3 • 2023 • Special Issue: Feminist Videographic Diptychs
Issue Archive
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Volume 11 • Issue 3 • 2024 • Special Issue: Women and Aging
Volume 11 • Issue 2 • 2024
Volume 11 • Issue 1 • 2024 • OLH Launch Issue
Volume 10 • Issue 4B • 2024 • Special Pedagogy Issue: The TV Dictionary
Volume 10 • Issue 4A • 2023 • Special Pedagogy Issue: Videographic Responses
Volume 10 • Issue 3 • 2023 • Special Issue: Feminist Videographic Diptychs
Volume 10 • Issue 2 • 2023
Volume 10 • Issue 1 • 2023
Volume 9 • Issue 4 • 2023 • Special Issue: Once Upon a Screen, vol. 2, part 2
Volume 9 • Issue 3 • 2022 • Special Issue: Once Upon a Screen, vol. 2, part 1
Volume 9 • Issue 2 • 2022
Volume 9 • Issue 1 • 2022
Volume 8 • Issue 3 • 2021
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Volume 8 • Issue 1 • 2021
Volume 7 • Issue 3 • 2020
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Volume 7 • Issue 1 • 2020
Volume 6 • Issue 4 • 2019 • Special Issue: Montage Reloaded
Volume 6 • Issue 3 • 2019
Volume 6 • Issue 2 • 2019 • Special Issue: Audiographic Criticism
Volume 6 • Issue 1 • 2019
Volume 5 • Issue 4 • 2018
Volume 5 • Issue 3 • 2018 • Special Issue: Scholarship in Sound & Image Workshop
Volume 5 • Issue 2 • 2018
Volume 5 • Issue 1 • 2018 • Special Issue: Scholarship in Sound & Image Workshop
Volume 4 • Issue 4 • 2017
Volume 4 • Issue 3 • 2017 • Special Issue: The Poetics of Eye Tracking
Volume 4 • Issue 2b • 2017 • Special Issue: Indefinite Visions
Volume 4 • Issue 2a • 2017 • Special Issue: Indefinite Visions
Volume 4 • Issue 1 • 2017 • Special Issue: Reflecting on Three Years of [in]Transition
Volume 3 • Issue 4 • 2016
Volume 3 • Issue 3 • 2016 • Special Issue: Latin American Cinema
Volume 3 • Issue 2 • 2016
Volume 3 • Issue 1 • 2016
Volume 2 • Issue 4 • 2016 • Special Issue: Scholarship in Sound & Image Workshop
Volume 2 • Issue 3 • 2015
Volume 2 • Issue 2 • 2015 • Special Issue: Collaboration with Cinema Journal
Volume 2 • Issue 1 • 2015
Volume 1 • Issue 4 • 2014 • Special Issue: Video Essays and Hollywood
Volume 1 • Issue 3 • 2014 • Special Issue: Practice & Theory of the Audiovisual Essay
Volume 1 • Issue 2 • 2014 • Special Issue: Formal Parameters and Videographic Criticism
Volume 1 • Issue 1 • 2014