Welcome to a double issue of [in]Transition. 10.2 features no fewer than twelve excellent and innovative pieces of peer-reviewed videographic work on the following, very wide-ranging topics and formal explorations: temporality and editing in Denis Villeneuve's 2016 film Arrival; a videographic (and deeply autobiographical) reflection on pedagogy in an introductory American film history course; the underlying dynamic and embodied patterns of meaning-making in cinema; on bodies and senses in Tsai Ming-liang’s cinema; on Patricio Guzmán’s The Pearl Button as media environmental philosophy; philosopher Jean-François Lyotard's deconstructionist audiovisual performance in a 1978 episode of the French TV series Tribune Libre (Letter to the editor); a parametric exploration of the poetic, historical, and affective qualities of three American films about the 2008 financial crisis; a cumulative and recursive study of extras' acting in the 1979 film Breaking Away; an epigraphic study of fan video ('vidding') and videographic criticism as two different forms of commenting on media through media; the contribution made by fashion photographer and color consultant George Hoyningen-Huene to the films on which he worked, as well as to film colour aesthetics of the 1950s and 1960s; the work of Japanese artist and screen-media maker Ninagawa Mika, her 2021 film Helter Skelter and its significance in terms of film theoretical debates about the gaze; and an exploration of important and urgent questions surrounding the licensing of public domain moving images.

Editors: Catherine Grant (Editor), Barbara Zecchi (Editor), Eva Hageman (Editor), Drew Morton (Editor), Neepa Majumdar (Editor)

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