Welcome to [in]Transition’s second issue of 2024, 11.2. This issue features a variety of peer-reviewed videographic work focused on a fascinating array of film and moving image studies topics: autofiction in Bo Burnham's Inside, posthumanism in the art cinema, a reflection on police violence and personal recording devices, a collage of the various incarnations of Frankenstein, a study of color in the horror genre, an analysis of subtitling in Indian film, a reflection on masculinity in the films of Guillermo del Toro, and a study on memory in John Cassavetes's The Killing of a Chinese Bookie.
As usual, we welcome new submissions.
We would also like to take a moment to thank all of our peer reviewers. We appreciate their hard work and constructive feedback. That being said, we would also eagerly welcome new reviewers. If you are interested in reviewing for our journal, please contact us.
Chiara Grizzaffi and Drew Morton, co-editors.
Kevin Ferguson, production editor.
Jason Mittell, journal manager.
Editors: Chiara Grizzaffi (Editor), Drew Morton (Editor), Kevin L. Ferguson (Co-Editor)
Research Article
Art Cinema’s Suicidal Posthuman Women
Missy Molloy, Pansy Duncan, Claire Henry and Caitlin Lynch
2024-06-18 Volume 11 • Issue 2 • 2024
Autofictional Authenticity: Bo Burnham’s Inside, Netflix Comedy and YouTube Aesthetics
James MacDowell and Tom Hemingway
2024-06-18 Volume 11 • Issue 2 • 2024
Guillermo del Toro's Multiple Masculinities
Lisa Renee DiGiovanni
2024-06-18 Volume 11 • Issue 2 • 2024
Issue Archive
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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
Volume 8 • Issue 2 • 2021
Volume 8 • Issue 1 • 2021
Volume 7 • Issue 3 • 2020
Volume 7 • Issue 2 • 2020
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