Welcome to [in]Transition’s third issue of 2026, 13.3, featuring nine peer-reviewed videographic works that focus on a wide range of film and moving image studies topics: the use of color in Michelangelo Antonioni’s Red Desert, the racial aesthetics in Regina King's One Night in Miami, an examination of black grief via the usage of surveillance footage and doomscrolling aesthetics, a reflection on the “mirror routine” throughout film history, an examination of visual representations of sound in silent cinema, an analysis of feminist themes in zombie narratives, a historical reclamation of women’s labor in the British cine-club movement, an analysis of representations of fatherhood on screen, and a meta-reflection on videographic criticism via Richard Linklater’s Before Sunrise.
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.
Drew Morton and Chiara Grizzaffi, issue editors
Eva Hageman, Juan Llamas-Rodriguez, Neepa Majumdar, Alan O’Leary, Maria Pramaggiore, and Barbara Zecchi, article editors
Kevin Ferguson and Kathleen Loock, production editors
Jason Mittell, journal manager
Research Articles
Must We Say What We Mean? Attempting Criticism in the Video Essay
James MacDowell and James Zborowski
Issue Archive
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Volume 13 • Issue 3 • 2026
Volume 13 • Issue 2 • 2026 • Reframing the Argument: Videographic Criticism as Graduate Research Practice
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