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Film Studies in Motion: From audiovisual essay to academic research videoMain MenuIntroductionChapter I: From Scribe to ScreenChapter II: Current PracticeChapter III: Closing the GapFinal RemarksReferencesThomas van den Berg05debbe0c938b9e7170e68167598b10193a9540eMiklos Kissbab68bf9457e82557cb440971c8c3307eac46327
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12016-05-30T11:54:52-07:00Miklos Kissbab68bf9457e82557cb440971c8c3307eac4632781153plain2017-02-12T02:32:39-08:00Miklos Kissbab68bf9457e82557cb440971c8c3307eac46327Taking a sidebar on pacing, it should be noted that relative newcomer to the genre, Tony Zhou, deviates most distinctly from this principle with his voice-overs that spur quickly through comprehensible lines of commentary. This was aptly reflected upon in Kevin B. Lee’s Fandor video What Makes a Video Essay Great?in December 2014. Here, Lee sets Zhou apart, and conceptualizes his mode of deliverance as ‘hypernarration’ while subsequently questioning whether or not all subsequent video essayists should adapt this mode of communication (although acknowledging its general attractiveness, one could wonder about hypernarration’s suitability to a theoretically dense academic research essay). For Lee, Zhou’s hypernarration is not only about ‘fast vocal delivery and montage’, but also ‘assertive opinionating’ using ‘appealing conversational tone’ that creates a kind of ‘cognitive treadmill effect’ on its hooked viewers (around 2:16 in Lee’s video):
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12016-03-10T08:57:47-08:00What Makes a Video Essay Great? [by Kevin B. Lee]1The video essay is expanding our notions of film criticism and appreciation. But do these essays offer a key to let us out—or lock us in? A desktop documentary by Kevin B. Lee.plain2016-03-10T08:57:47-08:00