Welcome to [in]Transition’s first issue of 2022, 9.1. This issue features seven pieces of peer-reviewed videographic work, including audiovisual essays focused on secret worlds in Studio LAIKA films, representations of amnesia in film noir, the cinematic rapture of grass, ending paratexts, theories of sonic elongation, film with live orchestra concerts (this videographic study has been nominated for the Learning on Screen Awards 2022 ‘Creative Re-use’ category), and a comparative analysis of versions of the 2017 Justice League film, made in the form of a pastiche of kogonada’s classic video essay, "What Is Neorealism?".
Editors: Catherine Grant (Editor), Katie Bird (Editor), Hoi Lun Law (Editor), Chiara Grizzaffi (Editor), Kevin L. Ferguson (Editor), Neepa Majumdar (Editor)
Research Article
Ripple, rustle, shimmer and shake: the cinematic rapture of grass
Anne Rutherford
2022-03-07 Volume 9 • Issue 1 • 2022
The Spaces Beyond: Experimenting with the Theory of Audiovisual Concrète
Holly Rogers and Heather Britton
2022-03-07 Volume 9 • Issue 1 • 2022
Studio LAIKA and the Ghosts of Invisible Labor
Mihaela Mihailova
2022-03-17 Volume 9 • Issue 1 • 2022
Film-with-Live-Orchestra Concerts: A New Hope
Sureshkumar Sekar
2022-03-07 Volume 9 • Issue 1 • 2022
Issue Archive
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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