On 3rd April 2017, scholars from around the world gathered at the Minghella Studios for the workshop Videographic Film Studies Now. The event was organised by John Gibbs and supported by the Department of Film, Theatre & Television and the Centre for Film Aesthetics and Cultures.
Our first keynote speaker was Kevin B. Lee, then just completing a period of time in Berlin as the first ever Artist in Residence at the Harun Farocki Institut. He opened proceedings with a characteristically dynamic and provoking presentation exploring the politics and possibilities of publishing in the contemporary online film landscape. As readers familiar with Kevin’s work might expect, he manipulated his words and his desktop with extraordinary deftness. Here he is presenting an appropriate epigram for the day, which he had spotted on some hoarding in West London over the weekend and shared with the audience via Google Earth:
(photo credit: José Arroyo)
The day’s other keynote was another pioneer of the form, Catherine Grant, author of Film Studies For Free and one of the founder editors of [in]Transition. As events transpired, the workshop clashed with the interview for what was to become her new post of Professor of Digital Media and Screen Studies at Birkbeck. She travelled to Reading in the days before the workshop to record this In Conversation, which was then screened in the Minghella Cinema in place of her talk:
The workshop was designed for colleagues already making or teaching videographic work, rather than aimed at an audience yet to be won over to the possibilities of the form. Sergio Angelini, Head of Membership Services and Information at Learning on Screen, was our third headline speaker, exploring some of the implications of fair dealing and copyright law for video essayists in a valuable and enjoyable Q&A.
Sergio Angelini (left) responds to questions from the audience (photo credit: José Arroyo)
In a final Session before the company continued discussion over a drink, Jaap Kooijman, Liz Greene and John Gibbs presented creative problems they had encountered in the making of audiovisual essays, and explored different solutions in dialogue with members of the audience.
Liz Greene explores audio/videographic approaches to sound design and the archive (photo credit: José Arroyo)