Welcome to [in]Transition’s second issue of 2025, 12.2. This issue features eight peer-reviewed videographic works that focus on a variety of film and moving image studies topics: theatrical presence in Bergman's Hour of the Wolf and Lynch's Mulholland Drive, women’s domestic labor in seven Latin American films, Hungarian director Miklós Jancsó’s idiosyncratic film style, the star wipe as marginal and forgotten media artifact, Hollywood’s imagining of Abraham Lincoln, and two pieces on horror: hidden horror in romantic melodramas of Yeşilçam (Turkish cinema), and crochet across a range of horror films.
We extend a sincere thank you to all of our peer reviewers. We appreciate their hard work and constructive feedback, ensuring that each submission is as strong as it can be. We also eagerly welcome new reviewers; if you are interested in reviewing for our journal, please contact us.
We also encourage new submissions.
Chiara Grizzaffi, Drew Morton, Alan O'Leary, and Barbara Zecchi, co-editors
Kevin Ferguson and Kathleen Loock, production editors
Jason Mittell, journal manager
Research Articles
Awkwardness and Authenticity: Hollywood’s Abraham Lincoln
Tom Brown
2025-06-11 Volume 12 • Issue 2 • 2025
'Predictable Unpredictability' – Dynamic Embodied Patterns in Miklós Jancsó's Film Style
Miklos Kiss and Maarten Coegnarts
2025-06-11 Volume 12 • Issue 2 • 2025
Issue Archive
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Volume 12 • Issue 2 • 2025
Volume 12 • Issue 1 • 2025
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