Chapter II: Current Practice
The production of audiovisual essays is a continuous movement. Therefore, in attempting to label practices and categories that expand in numbers each day, it is important to acknowledge that providing an exhaustive overview of available videos is an impossible venture. To come as close as possible, or at least demarcate this point in time, we have selected a number of sample items, which are exemplary to the categories we found to manifest themselves logically on the basis of dominant trends and shared traits. These categories comprise observational units that represent the fundamental aspects of these types of videos. These are voice-over and/or on-screen narration; textual annotation (within video); number of filmmakers and number of featured films; presence of a (explicitly formulated) thesis; accompanying text (and the informational relation between video and text); non-case study media (inserts beyond quotes from case study); references (either in the running video, at the end of video, or in accompanying text, with special attention for works cited list and detail of reference, c.q.
It should be noted that the range and spread in audiovisual essays is expansive, and there is no master index to where these works can be found. The designations provided here are probably the most all-inclusive and up to date
Since Kevin B. Lee’s early excerpts, general tendencies in video essays tend to focus on what in classical terms would be referred to as
Before presenting the following findings, we would like to point out that we consider all these manifestations valuable and exciting enrichments of film culture. Our critical notes and concerns are fuelled by the fact that we are in search of further possibilities in stricter, academic terms, and have found that there is room for advancement in that particular respect.