So, this is a something I’ve had rattling around in my head for awhile, and I finally managed to edit it into… a thing. I’m not sure how successful it is; basically, the idea was to try to communicate the experience of watching a Hong Kong movie as someone who lived there as a kid. Specifically, a movie (it began as “movies,” but trying to track down editable copies of old HK films is incredibly difficult, as it turns out) that shows a LOT of Hong Kong itself from around the period my family lived there. Michael Hui’s The Private Eyes (1976) does that – it’s surprisingly local, in fact – and so I edited it down to particularly recognizable scenes (because it was either that, or do the whole movie and… no), and then asked my brother to watch them with me while I recorded our conversation, which I then cut into the video edit. Continue reading Home Movie
Or, doing what others can’t do.
As I slowly make my peace with not being a ‘real’ (read: employed in an institution of higher learning) academic, I’ve turned my attention to what I do want to do. Although financial precarity is always only an unanticipated catastrophe away, I’m blessed with a spouse who believes in my research and insists that my time is better spent writing and researching than working in a job that doesn’t pay enough and complicates the daily hassles of getting kids where they need to go. While I don’t always share his faith in my abilities, I have been trying to think of ways to make being outside institutional academia work for me. Continue reading Doing What Can’t Be Done
Just back from the University of Huddersfield, where the 2017 Fan Studies Network Conference was held this year, commemorating both five years of FSN and the opening of the Centre for Participatory Culture there. My biggest takeaway from the conference was a kind of zeitgeist that, for me, both re-energized my own commitment to what I’m working on, as well as made me a bit melancholy that I can’t be doing more. Continue reading Fan Studies Network Conference 2017
Enough people have asked that I thought I should compile a list or something; fair warning, not all of this is good. Continue reading Stuff I’ve Written/Vidded on Hannibal
The online journal of videographic criticism, [in]Transition, published their third anniversary issue with a look back at their past three volumes; in it, Jason Mittell wrote eloquently in his essay, Videographic Telephilia, about the only two pieces in the journal devoted to television thus far. I won’t lie: he said some really complementary things about the piece I published in the last issue, and I’ve been riding on that for days now. But he also raised some questions that have stuck in my mind since I read it, which I’m taking a very preliminary stab at addressing here. Continue reading Televisual Videography (A Response to Jason Mittell)
So, I made – wait for it – another Hannibal video. What a surprise.
But it confirmed something I had suspected for awhile about where my style – if you can call it that – in video editing comes from. So, I’m a kid… I don’t know exactly how old, but I think it might have been high school. Or college. But I think high school IDK. Anyway, I see Brian DePalma’s Phantom of the Paradise on TV… it’s a decade old by this point, give or take a few years, and certainly not his best-known film. But I am besotted, partly because I really like Paul Williams, who is cute and has straight hair IDEK.*
I just returned last night from my quickie trip to London (well, really Heathrow) for RDC3 – Behold the Red Dragon Con 3, which was a short but very sweet celebration of all things Hannibal. And this morning I thought, oh I know, I should write a con report… but then I remembered a question Demore Barnes (Tobias Budge) asked all of us gathered there: “what does Hannibal mean to you?” And that (oh so predictably) made me want to write a little more than a report; so instead, here’s a kind of extended (self) reflection on Hannibal, RDC3, and what that all means to me.
I’ve been playing with this for months, now, and even wrote some on an earlier version here last spring. hannibal: a fanvid was finally published in the online videographic essay journal [in]Transition today (!!), so I wanted to post a link to the site, which includes both the video and accompanying explanatory essay, as well as two critical reviews. Continue reading hannibal: a fanvid (final)
This seems to be a thing I do every year now, mostly to remind myself that I actually have accomplished some things over the past year. I usually just do professional stuff, but this has been one of THOSE years (I mean, 2016, amirite?), so I think this time around I’ll throw in personal stuff as well.
There’s a device used (primarily) in printed Japanese that I first became interested in back in the earliest days of my Adachi Mitsuru manga fandom (Touch, I liked Touch – which, yes, puts this in the 1980s). Furigana (or ‘ruby/i‘) are phonetic glosses of written kanji (Chinese characters); typically, they serve the very functional purpose of indicating how the kanji they append should be pronounced (which, when a given character can have upwards of ten+ different readings depending on context, is pretty useful). Continue reading Furigana, Vertical Montage, and the Video Essay