Welcome to [in]Transition’s fourth issue of 2024, 11.4. This issue features a variety of peer-reviewed videographic work focused on a fascinating array of film and moving image studies topics: queer spectatorship and queer identity in Laurence Anyways; a desktop documentary on computer sabotage and its archival traces; a reflection on listening as an embodied experience; an analysis of how the sight of vampires is visually represented; an inquiry on the role of pop music in fanvids and, more broadly, in media criticism; a videographic correspondence on (or with?) Jean-Luc Godard; an investigation of female subjectivity in socialist cinema; a reflection on the unexpected intersections between a Scottish football club and trans/national film productions; an exploration of unfulfilled love stories; and a rumination on racism, film materiality, and spectatorial agency.
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 (Co-Editor), Drew Morton (Co-Editor)
Research Articles
Machines in Flames: Computation, Destruction, and the Lure of Archives
Thomas Dekeyser and Andrew Culp
2024-12-12 Volume 11 • Issue 4 • 2024
Hiber-nation: The Green Ray from Under the Skin
David H. Fleming
2024-12-12 Volume 11 • Issue 4 • 2024
Issue Archive
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Volume 11 • Issue 4 • 2024
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
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