Welcome to [in]Transition’s first issue of 2026, 13.1, featuring seven peer-reviewed videographic works that focus on a wide range of film and moving image studies topics: mediation in video games, a reflection on the relationship between media and philosophy in the age of artificial intelligence, an analysis of data center technical imagery and its relationship to environmental studies, a pedagogical reflection on the work of Catalan documentary filmmaker Joaquim Jordà, an analysis of the use of folk music in the films of the Coen brothers, and an analysis of early cinema aesthetics through the aquatic lens of the fish tank.
Finally, we are excited to publish the inaugural winner of the SCMS Digital Humanities and Videographic Criticism Scholarly Interest Group’s Graduate Student Video Essay Award: Veronika Hanáková’s “The Red Shoes: A Desktop Fairytale.” We would like to thank SIG co-chairs Allison Cooper and Jenny Oyallon-Koloski, Andrea Comiskey, and the review committee for their hard work establishing the award and vetting the submissions.
In addition, we would like to 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.
Finally, as always, 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
A Class with Joaquim Jordà
Nuria Cancela and Samantha da Silva Diefenthaeler
Issue Archive
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Volume 13 • Issue 1 • 2026
Volume 12 • Issue 4 • 2025 • Special Issue: Cinematic Bodies/Videographic Forms
Volume 12 • Issue 3 • 2025 • General Issue + Monographic Section on Ecocriticism and Animal Studies
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