Film Studies in Motion: From audiovisual essay to academic research video

Final Remarks

With this book, we primarily aimed to present a comprehensible history and a possible future of Videographic Film Studies. The precursory technologies and theories are a rich source of valuable information that can be reinvestigated and reinvigorated for the purpose of maturing a new form of audiovisual delivery. Because at the heart of these elaborate discussions and contemplations factually lies a mode of communication. ‘Mode’ applies here in all of its etymological translations: a ‘method’, ‘form’ or even ‘designated status’. The videographic form, regardless of it being autonomous or not, is multi-faceted, one that is designated in theory as a ‘problem’, which in praxis means ‘possibility’ – balancing the two explanations was the second aim of our book. For our third chapter, we wanted to use the descriptive chapters as a backdrop for a discussion that looks toward the future. As a result, the final goal of our book lies with anyone that reads this book: what will those that have read this do with the information and ideas presented in these pages?

The stepping-stones for this publication turned out further apart than we initially thought they would be: the original videographic experiment – the (un)reliable (un)reliability video – dates back to August 2013. The subsequent year, a thesis on the matter was formulated, and a year after that, the first draft of this book was completed. Yet even though the video essay was two years old by the time all the contextual considerations were in place, it still holds true. While developments in the field of Videographic Film Studies are taking place at a rapid pace – regarding both the exponential growth in production and in theoretical address of videographic work –, we believe this book suffices as a comprehensive (or at least preliminary) introduction to the subject, as well as a fertile ground for the exploration (if not furthering) of the form. New combinations of image, text and music are being made daily, but the basic components and even common traits remain largely the same; it is with an informed perspective on how to compose and combine them that we will be able to potently mature the practice.

Last but not least, we hope offer a note on the application of the techniques discerned in this book. One can surely opt to make new videos on new films with new ideas, but older texts and films can be assimilated as well. If anything, we would not be surprised if recommended readings for film classes will be surplussed, augmented or even (partially) replaced by videos: would not Laura Mulvey’s Visual Pleasure and Narrative Cinema work as a video? The same of which can be said, for that matter, of David Bordwell’s Film Art: An Introduction. And would not the elaborate sequences of stills in his Narration in the Fiction Film be a perfect candidate for text augmented with video? In any case we would like to close with somewhat of a repetition: we hope this book is not viewed as an argument for an end-all format, but rather as a platform that informs those interested in pursuing Videographic Film Studies. In other words, this is an invitation to set Film Studies in Motion.

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