SCREENTIME: An Exhibition of Desktop Videos

On display from January 6 to January 27, 2022 in Stanford’s McMurtry Building (home of the Department of Art & Art History) is SCREENTIME: An Exhibition of Desktop Videos.

The exhibition grows out of a collaboration between Stanford and Occidental College — between Shane Denson’s class “The Video Essay: Writing with Video about Media and Culture” and Allison de Fren’s “The Video Essay,” both of which were taught in Fall 2021.

Students in each class met online and worked through some of the more troubling aspects of online life, including online racism, radicalization, pornography, and politics. The resulting videos, all of which use the computer desktop as both a topic and a medium, reflect the troubled times of contemporary screentime, and the sonic cacophony in the exhibition space challenges viewers to come to terms with the ways that screens today compete for our attention.

Included in the exhibition are eleven remarkable videos:

I Love Kanye (2021) — D’Andre Jorge (sophomore, Stanford)

A Letter to My Younger Self, on the Dangers of the Internet (2021) — David Kolifrath (freshman, Occidental)

The Commercialization of Self Image (2021) — Ashton Berg (sophomore, Stanford)

Solace in Schadenfreude: r/HermanCainAward and Vaccine Misinformation (2021) — Tejas Narayanan (sophomore, Stanford)

A Brief Inquiry into Cultural Appropriation and Misogynoir Online (2021) — Micah Drigo (sophomore, Stanford)

Kids Content on YouTube (2021) — Finian Walsh (sophomore, Occidental)

Bots and Trolls and Hackers, Oh My! A Story of Russian Interference (2021) — Katherine Crandell (junior, Stanford)

Let’s Talk about Porn (2021) — Henry Liera (senior, Stanford)

Sustainable Brands and the Limits of “Radical Transparency” (2021) — Georgia Crawford (freshman, Occidental)

The Shallows of Hate (2021) — Ben Fischer (sophomore, Stanford)

Tiktok’s Devious Licks Trend (2021) — Zahir Choudhry (freshman, Occidental)

WTF IS THAT? Allison de Fren at Digital Aesthetics Workshop

Allison de Fren DAW poster

On Tuesday, November 14, 2017, media maker/scholar Allison de Fren will be discussing post-cinema and videographic criticism with the Digital Aesthetics Workshop at the Stanford Humanities Center, focusing on her video essay “WTF IS THAT? The Pre- and Post-Cinematic Tendencies of Paranormal Activity” and Steven Shaviro’s article “The Glitch Dimension: Paranormal Activity and the Technologies of Vision.”

This event follows a screening of de Fren’s documentary and videographic work on fembots the night before (more details here).

Fembots: From Representation to Reality

deFren-Poster

On Monday, November 13, 2017 (5:30pm in Oshman Hall, McMurtry Building), media maker/scholar Allison de Fren (Occidental College) will be on hand for a screening of her 2010 documentary The Mechanical Bride and her 2015 video essay Fembot in a Red Dress. The screening, which is free and open to the public, will be followed by a Q&A.

Sponsored by the Stanford Department of Art & Art History, the Documentary Film Program, and Stanford’s Frankenstein@200 Initiative.

Post-Cinema: Videographic Explorations

Post-Cinema-Exhibit-Poster

Starting May 1, I am proud to present an exhibition of video essays, including works by well-known scholar-filmmakers Allison de Fren and Kevin B. Lee, as well as students from my “Post-Cinema” seminar. Selected videos deal with a range of topics, including digital animation, Beyoncé’s Lemonade and the visual album, contemporary horror, slow cinema, transmedia franchises and post-cinematic television, and more.

The show will be on view May 1-12, 2017 in the Gunn Foyer, McMurtry Building (home of the Department of Art & Art History) at Stanford University.

Out Now: [in]Transition 2.4

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The latest issue of [in]Transition: Journal of Videographic Film & Moving Image Studies has just been published. This is a special issue featuring video essays that emerged out of the NEH workshop on videographic criticism that I attended last summer at Middlebury College, organized by Jason Mittell and Christian Keathley. In addition to my video essay “Sight and Sound Conspire: Monstrous Audio-Vision in James Whale’s Frankenstein (1931)” — with peer reviews by Steven Shaviro and Drew Morton — the special issue also contains great pieces by Allison de Fren, Patrick Keating, Jaap Kooijman, and Michael Talbott. Check it out!