On Friday May 26, 2023 at 21:15 the Experimental Film & Video Festival VIDEOEX hosts a special screening of Johannes Binotto› video essays. Johannes will show and discuss a selection from his series «Practices of Viewing» including the still unpublished last video of the series on endings.… continue
One of the first academic conferences devoted to videographic research was held at the Frankfurt Filmmuseum and Goethe University in Germany in 2013.… continue
Project member Chloé Galibert-Laîné has been invited to present a 3 hour masterclass about their videographic work as part of the «Practices of archival» course at INA Sup in France.… continue
Videoessays sind die neueste Fortsetzung dessen, wovon Jean-Luc Godard in seinen «Histoire(s) du cinéma» geträumt hat: Die Filmgeschichte entdecken, indem man deren Bilder neu zusammensetzt.… continue
Chloé Galibert-Laîné was invited to present their latest video essay GeoMarkr, together with co-writer Guillaume Grandjean, at the conference «La Preuve par l’Image» at l’Institut National d’Histoire des Arts in Paris on December 9th, 2022.… continue
Chloé Galibert-Laîné was invited to give a masterclass as part of the online seminar of DocSP in Sao Paulo, Brazil.
Event organized with the support of the Institut Français du Brésil.… continue
The Casa do Cinema Manoel de Oliveira in Porto, Portugal has organized a two-days retrospective of 8 films and video essays by Chloé Galibert-Laîné. The screenings were followed by in-person conversations with the spectators, as well as a workshop at the Universidade Católica Portuguesa in Porto.… continue
Both Johannes Binotto and Oswald Iten were giving panel talks at «Videography: Art and Academia», an international video essay symposium about «Epistemological, Political and Pedagogical Potentials of Audiovisual Practices», November 2-4, 2022, organized by Maike Sarah Reinert, Evelyn Kreutzer, Anna-Sophie Philippi, and Kathleen Loock.… continue
In September 2022 Johannes Binotto was as cisiting scholar teaching two video essay workshops at University of Massachusetts Amherst, organised and hosted by Barbara Zecchi.
One course was devoted to the question of minority and minor use in video essays, the other on performativity and embodiment in video essay practice.… continue
Both Chloé Galibert-Laîné and Johannes Binotto were giving keynote lectures at the International Conference on Videographic Criticism at the University of Massachusetts Amherst, Sept. 22-23, 2022, organised by Barbara Zecchi and Daniel Pope.… continue
As cinephiles we pride ourselves to watch films in original versions only. Dubbed versions, on the other hand, we consider as a massive and thus unacceptable deviation from how a film is intended to be viewed.… continue
You are not supposed to sleep during a film.
But what if sleep is recognised as not an obstruction but as an essential element of experiencing cinema?
I remember those times I dozed off in the theatre and how I began to intermingle and flow together with those images I saw through my half closed, half open eyes.… continue
The coupling of optics and acoustics in cinema never was a natural given, but always a construction and as such highly fragile, dependent on technical equipment, and therefore also open for experimentation.… continue
Chloé Galibert-Laîné’s PhD film Watching the Pain of Others will screen at the Avignon Festival in France, as part of a collaboration between the festival and the SACRe research lab, together with other screen-based and live performance works by other former candidates from the program.… continue
Chloé Galibert-Laîné was invited to teach a desktop documentary workshop at the University of Bern – Anthropology department.
The exchanges with the students and their professor Laura Coppens were tremendously stimulating, leading to the production of five short videos and performances.… continue
Project member Chloé Galibert-Laîné and video game scholar and critic Guillaume Grandjean screened and discussed their new co-authored video essay «GeoMarkr» with the CP3 research center at the University of Australia, on invitation by Dr.… continue
Chloé Galibert-Laîné presented her videographic research and desktop documentary practices in conversation with architecture students at the Malaquais school in Paris, by invitation of the Professor Soline Nivet.
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Project member Chloé Galibert-Laîné was invited to give a masterclass at the Toulouse national art school isdaT.… continue
The online magazine Filmexplorer launches a digital Gallery with several exhibitions of video essays – curated by project members and associates Chloé Galibert-Laîné, Kevin B. Lee and Johannes Binotto.
Proposition and Curation
After a long period where definitory questions have prevailed, and a recent period of inclusion of a plurality of forms of video-essay, the time is now ripe to let aside the attitude of surveying or mapping the variegated landscape of video essays, and to let emerge the style of the author.… continue
Sirk, the artificial, and watching film history as augmented reality
Playing around with an augmented reality, researching film viewing practices, and my obsession with the question of artificiality in the films of Douglas Sirk – all this coincided in this video essay in for me surprising and disturbing ways.… continue
Das britische Filmmagazin «Sight and Sound» hat in seinen jährlichen Umfragen Johannes Binottos Serie Practices of Viewing zum besten Videoessay von 2021 erkoren.… continue
Apart from having the VideoEssay «Metaleptic Attack» in the competition section Bande apart, Johannes Binotto is also presenting a special screening of his «Practices of Viewing» series followed by a master Class at the Festival de cine de Las Palmas de Gran Canaria.… continue
Master Talk Editing im Kino Toni ZHdK 1.4.2022
Gast: Johannes Binotto, Kultur- und Medienwissenschaftler, Experimentalfilmemacher und Videoessayist
Was macht ein Schnitt? Wie fangen durch die Montage Bilder an, sich gegenseitig nicht nur fortzusetzen, sondern auch zu kommentieren und analysieren?… continue
Vorlesung von Johannes Binotto vom 31.3.2022 im Rahmen der Vorlesungsreihe «Ansätze der modernen Filmtheorie» von Prof. Dr. Volker Pantenburg, Filmwissenschaft Universität Zürich
Filme als Texte zu lesen bedeutet auch, sie als unabschliessbare Texturen zu entdecken: als ein Gewebe aus Bildern und Klängen, das sich immer wieder neu verändert.… continue
Coucou Magazin Nr. 104 (März 2022) / S. 16-21 ///
Ein Gespräch mit dem Winterthurer Kultur- und Medienwissenschaftler Johannes Binotto über die verschiedenen Möglichkeiten des Filme Sehens.
Interview & Bild: Sandra Biberstein
Sandra Biberstein (SB): Johannes Binotto, du beschäftigst dich seit seit Deiner Jugend mit Filmen – unterdessen auch einerseits in deiner Forschung aus kulturwissenschaftlicher, kulturgeschichtlicher und psychoanalytischer Perspektive, anderseits setzt du dich als Dozent an der Hochschule Luzern mit Film- und Medientheorien sowie mit verschiedenen Filmtechniken auseinander.… continue
Within the framework of a series of lectures for the GIBZ (Gewerblich-industrielles Bildungszentrum Zug) in a local cinema, Oswald Iten presented videographic examples of how contemporary narrative feature films create tension on the soundtrack.… continue
A collective video notebook on Alice Guy’s LES FREDAINES DE PIERRETTE (1900), the erogeneity of film and our sensibility as cinema spectators.
This notebook is the result of a video essay workshop taught by Johannes Binotto at the conference «Szenen des Sexuellen» (4.-5.… continue
A new issue of the peer-reviewed journal Images Secondes was published, co-edited by team member Chloé Galibert-Laîné with Gala Hernandez Lopez, entitled «Post-cinéma. Pratiques de recherche et de création».
It includes several videographic contributions:
03 | 2022 Post-cinéma, pratiques de recherche et de création
Abstract:
This issue of the French journal Images secondes wishes to interrogate the heuristic and critical potential of the notion of «post-cinema».… continue
A film has a beginning and an end and what happens in between knows only one direction: forward. That would be a banal commonplace if it were only true. But in fact, film for long was not a linear medium, but a circular one.… continue
An online symposium on video essays is held 24th to 25th of February on Zoom including also a workshop by our research team member Johannes Binotto.
The whole event is open to the public.… continue
The best video essays of 2021 poll, hosted by the British Film Institute and the Sight and Sound magazine is out with video essays of our research group being at the top.… continue
The association WHITE FRAME (WF) is presenting an online exhibition of video essays by Johannes Binotto, curated by Chantal Molleur; including a new interview and the not yet officially published video essay «Metaleptic Attack».… continue
The fifth entry in the Practices of Viewing series on new media and their old histories.
Cinematic images never come to us directly but through mask that crop their visuals to the right format.… continue
Oswald Iten has been invited to talk about «Fear + Sound» at the Institute of Advanced Study in the Humanities in Essen on November 23, 2021. As a presenter of film clips (both with original and experimentally de-familiarized soundtracks), he will moderate a discussion with the audience.… continue
As part of my research, I often swap soundtracks of similar scenes in order to see what this de-familiarization might reveal about the characteristics of the audiovisual relationship. These video notes* are usually just temporary tools of my process.… continue
Focusing on video essays in academic teaching, our hybrid workshop (four people in the room and four on zoom) at the HSLU in Emmenbrücke was a great success. On 21/22 Oct, Miklós Kiss, Kevin B.… continue
WARNING: this video is concerned among other things with death and mortality and may not be suitable for everyone
Alain Resnais film PROVIDENCE from 1977 – the same year I was born – is a film of twos folded into one:
A film about writing and about dying; about memory and decay; an American film made by a French director; a film about the word providence in its double meaning as metaphysical term for complete artistic control and as shibboleth for the universe of H.… continue
Johannes Binotto’s experimental video essay METALEPTIC ATTACK what its premiere in the Swiss Competition at the Experimental Film & Video Festival Videoex from 1 – 10 October
2021. It also was awarded with a Special Mention by the jury.… continue
In Wong Kar-Wai’s 2046 the use of music from other sources, and from François Truffaut’s VIVEMENT DIMANCHE in particular, becomes an additional layer to its multi-layered images and narrative.
By musical cue one film gets into an intimate conversation with another.… continue
Diskussion über Videoessays und Videoessay-Forschung im Podcast «Dritte Klappe» der Filmuniversität Babelsberg, mit Dr. Johannes Binotto, Dr. Maike Sarah Reinerth und Anna-Sophie Philippi.
Unabgeschlossen, versuchhaft, sich vortastend: Video Essays sind kritische Landkarten, bei denen die Kamera zu Stift und Papier wird.… continue
In the background of all the films I watch there are these screenshots that keep accumulating on my hard drive. Hundreds, thousands. When I see them I think of all the difficulties we once had with trying to obtain these images hidden within a film.… continue
As part of Ariel Avissar’s collaborative video essay project TV DICTIONARY, this bilingual entry seeks to sum up R.W.Fassbinder’s 15 hour adaptation of BERLIN ALEXANDERPLATZ (1980) in one word. Definitions adapted from Merriam-Webster, Collins Dictionary and Duden.… continue
After careful consideration of 149 high-profile applications, Kevin B. Lee (USA) has been appointed Locarno Film Festival Professor for the Future of Cinema and Audiovisual Arts at USI Università della Svizzera italiana.… continue
PEYTON PLACE in one word. With help from Merriam-Webster and Gilles Deleuze.
Part of the collection TV DICTIONARY by Ariel Avissar.
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As part of the collaborative video essay project TV DICTIONARY by Ariel Avissar this psychoanalytically inspired video essay reads the 80s TV series MIAMI VICE on the basis of a word that designates its central trope, its aesthetic principle, as well as its fundamental philosophical and psychological concept.… continue
Maksym Selezniov did this extensive discussion of the video essays by Johannes Binotto for the Russian film magazine kinoart. Check it out:
https://kinoart.ru/texts/sleduy-za-kotom-videoesse-yohannesa-binotto
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«Sound cinema has invented silence»
(Robert Bresson)
On Instagram, Facebook, or Twitter the standard setting for videos is «mute». More than 120 years after its invention silent cinema has become the default mode.… continue
The video essay «Touching Sound» by Johannes Binotto will be shown out of competition at the Vienna Shorts Film Festival 2021 in the thematic section on sound in film curated by Doris Bauer and Christof Kurzmann.… continue
Dans le cadre de la 34e édition du Festival Images, découvrez notre seconde conversation en français (sous-titrée en anglais) avec Chloé Galibert-Laîné, réalisatrice du court-métrage “Forensickness”, projeté dans le programme «The subject Shines».… continue
Early cinema, the materiality of film, and today’s audio messaging.
The message from scholar and film theorist Jiří Anger on his research on the Czech film pioneer Jan Kříženecký made me see the things he is obsessed with.… continue
As part of their first year BA course in film theory the students at the Lucerne School of Art and Design together with Johannes Binotto and in conjunction with the videoessay research project produce collaborative video notebooks on classics of film history.… continue
The Massachussetts Multicultural Film Festival organized a solo screening of two of Chloé Galibert-Laîné’s recent video essays. She also took part in a public conversation about her work with researcher Barbara Zecchi and the host of the Video Essay Podcast, Will DiGravio.… continue
Chloé Galibert-Laîné was invited to screen her video essay Forensickness and discuss her videographic research practice in dialogue with researcher and curator Delphine Jeanneret, as part of the international conference “EDITING ARTS: Le montage au cinéma et dans les arts contemporains” organized at the HEAD in Geneva, Switzerland.… continue
David Lean’s 1949 melodrama THE PASSIONATE FRIENDS has never gained the same popularity as its similarly themed predecessor BRIEF ENCOUNTER (1945). But apart from a stellar performance by Claude Rains it has something that is practically inexistent in the earlier film: silence.… continue
Für den Newsletter der Hochschule Luzern hat Christian Schnellmann einen Artikel zum Videoessay publiziert. Der vollständige Artikel ist hier zu lesen:
Researcher’s Cut: Wie ein Video-Format Lehre und Forschung aufmischt
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Pause is just a click away. The fact that on our devices we can pause a film whenever we want makes us forget how unsettling this actually is. Thinking about how dangerous it once has been when the images come to halt should help us to see this practice as subversive.… continue
Link zur Originalpublikation: geschichtedergegenwart.ch/videoessays-zeigen-als-intervention
Digitale Videoessays gehören online zu den beliebtesten audiovisuellen Formaten. In den letzten Jahren ist ihre Zahl geradezu explodiert. Doch wer darunter noch immer vor allem leicht zu konsumierende Erklärvideos versteht, sollte genauer hinschauen.… continue
Great responses to the student video essays by HSLU students from the module on film analysis in the online community:
… continueIf, as a set, these aren’t considered one of the best video essays of 2021, I’ll be very upset.
Chloé Galibert-Laîné was invited to contribute to the panel conversation organized to launch the online platform reCLAIM, in which her collaborative video essay project Bottled Songs is exhibited. The event was hosted by the Rautenstrauch-Joest-Museum Cologne in Germany.… continue
A long-form interview about Chloé Galibert-Laîné’s video essays, conducted by Ariane Papillon, was published in print in the French magazine Tête-à-tête.
Translated excerpt: Of course, Internet images are worthy of interest, scrutiny and critical thinking.… continue
As result of a theory course in February 2021 on filmanalysis taught by Johannes Binotto the first year video students at the Lucerne School of Arts and Design produced these eight video essays.… continue
Abstract: We tend to forget that the term „essay“ literally means „trial, attempt“. As Theodor Adorno has pointed out, the essay as a specific textual form necessarily challenges the ideas of pre-established methods and scientific rules and must instead be understood as an adventurous trial, as a radical experiment which „pays for its affinity to intellectual experience with a lack of security.“… continue
Despite their obvious differences in story, theme and era, in my mind, Todd Haynes› [SAFE] and Nicolas Winding Refn’s THE NEON DEMON have somehow become tethered to each other. And I still do not know why, exactly.… continue
Artikel von Helmut Dworschak, Der Landbote 6.2.2021, S. 7
Der Filmwissenschaftler und «Landbote»-Kolumnist Johannes Binotto leitet an der Hochschule Luzern ein Forschungsprojekt des Schweizerischen Nationalfonds über Video-Essays.… continue
Fast forwarding – nothing is as despised and as omnipresent among those in love with cinema. But what if we consider the speeding up of film as a reflexive practice that connects contemporary media consumption with the experimental beginnings of cinema before standardization.… continue
La Casa Encendida (Madrid, Spain) 25.2.2021
Chloé Galibert-Laîné’s video essays Flânerie 2.0, Watching the Pain of Others and Forensickness will screen as part of the «Monográfico» screening series at La Casa Encendida in Madrid, Spain.… continue
Chloé Galibert-Laîné will give an intensive 5-day workshop at the Ecole des Beaux-Arts de Marseille, entitled «Suspending Networks».
Abstract: In the context of the current pandemic, our daily interactions and activities are more than ever mediated by online interfaces.… continue
02.02.2021
Chloé Galibert-Laîné is one of the four filmmakers taking part in the «Cinéma Hybride» panel organized at the Clermont-Ferrand International Short Film Festival, to discuss her video essays Watching the Pain of Others and Forensickness.… continue
University College Cork – National University of Ireland, 02.02.2021
Chloé Galibert-Laîné will give a guest lecture in Prof. Dr. Laura Rascaroli’s class at the Cork University in Ireland entitled «Split Screens: Starving for Connection».… continue
Chloé Galibert-Laîné’s ongoing project Bottled Songs (co-authored with Kevin B. Lee) will screen as part of the Bellwether Film Series at the Amherst Cinema (United States).
A recording of the live Q&A can be watched here: https://www.facebook.com/watch/live/?v=748235262795014&ref=watch_permalink … continue
Heinrich-Heine-University (Düsseldorf, Germany), 29.01.2021
Chloé Galibert-Laîné’s ongoing project Bottled Songs (co-authored with Kevin B. Lee) will be screened and discussed as part of the «Desktop | Essay» Symposium at the Heinrich-Heine-University in Düsseldorf, Germany.… continue
in Tracy Cox-Stanton and Allison de Fren (ed.), «The Scholarly Video Essay», The Cine-Files, n°15, Fall 2020 [online].
Excerpt: As incidental as it may seem at first, I think the most critical feature of the spectatorial experience offered by a scholarly video essay is determined by its fixed pace and duration.… continue
Chloé Galibert-Lainé in conversation with Giuseppe di Salvatore talking about her videographic research, how she makes her films, and the questions both theoretical and practical she faces in her work.… continue
Johannes Binottos video essay REPRODUCTION INTERDITE will have international premiere at Fisura, Experimental Cinema & Video International Film Festival
(Due to the Corona pandemic the festival will be held online, streamed live via Facebook)… continue
Chloé Galibert-Lainés FORENSICKNESS will be screened at the Solothurner Filmtage.
https://www.solothurnerfilmtage.ch/de/solothurn-2021/programm/forensickness
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Discussion on the video essay, its many forms, its networks, the personal journey of some of its proponents, and its future.
German Abstract: Der Videoessay hat sich zu einer wichtigen und facettenreichen Form der Filmkritik entwickelt.… continue
The best video essays of 2020 poll (hosted by the Sight&Sound Magazine and the British Film Institute) is out with several video essays by team members Chloé Galibert-Laîné, Johannes Binotto and Oswald Iten among the top picks.… continue
Inventing a poetic path through images created with Louis Daguerre’s centuries-old photographic device, 16mm film cameras, pixelated video games consoles, early smarphones and contemporary computer interfaces, the work asks: what aspects of reality have these different technologies been designed to document?… continue
A discussion on France Culture with Chloé Galibert-Laîné on her video essays «Watching the Pain of Others» and «Forensickness», the format of the desktop documentary, and the question of spectatorship in the age of the internet:
https://www.franceculture.fr/emissions/la-grande-table-culture/refait-le-film-avec-chloe-galibert-laine… continue
Audiovisual essay for the NECSUS issue Autumn 2020_#Method.
When it comes to Disney music, and The Jungle Book (Wolfgang Reitherman, 1967) in particular, most people think of character-defining songs like ‘The Bare Necessities’.… continue
Taking “Papa was a Rollin’ Stone” by The Temptations and The Autobiography of Malcolm X as the departure point this video essays traces the theme of the absent black father as rooted in the trauma of colonialization and slavery, perpetuated by the cultural trauma of racism in America. … continue
Chloé Galibert-Lainé in conversation with Radim Procházka from Ji.hlava International Documentary Film Festival 2020 talking about her film FORENSICKNESS and the intersections between academic research and artistic practice.
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Charles University Prague, 25.11. / 26.11. / 2.12.2020 (workshop will be held online, due to Covid-19)The workshop is part of the seminar «Found footage: Praktická teorie filmu» taught by Jiří Anger.… continue
In digital video, keyframes are those images which serve as anchoring points for all the other images. By removing them the video becomes unstable.
A digital automaton working against cinema’s obsession.… continue
Abstract: The video essay as a form of film studies which does not only think about cinema but which is working with film excerpts as tools of their own analysis has seen widespread success and proliferation in recent years.… continue
A video essay exploring the exploitation of the American west, along the lines of Frederick Jackson Turner’s frontier thesis and western films, from THE MAN FROM LARAMIE to WESTWORLD Season 1.… continue
In an attempt to analyse Chris Kennedy’s ‹Watching the Detectives›, a researcher dives into a massive archive of media produced after the Boston attacks. Her online wanderings offer a performative exploration of the history of critical thinking and the ruthless politics of truth production.… continue
The first image of «Hiroshima mon amour» – a trace, asking for interpretation, resisting interpretation. Feeling for the facets of just this one image is personal, visceral. Never final.… continue
There is this magical scene in Ulrike Ottinger’s FREAK ORLANDO which brings into play the questions of otherness and identification, of desire as queer and transgressive, and of film (and media in general) as that which is caught between transparence and opacity.… continue
A cat video of a different sort.
Following a cat in Alfred Hitchcock leads to other cats and other films, to radical politics and the trouble with the gaze.… continue
Video essay based on Martin Scorsese’s 1993 adaptation of Edith Wharton’s novel «The Age Of Innocence» and Bernard Herrmann’s score for TAXI DRIVER (Scorsese, 1976).
«The Age Of Emptiness» takes a look at how we might also read Scorsese’s film in our current situation of «Social Distancing».… continue
Auszug: … Die Vitalität und Zukunft des Videoessays wird denn auch insgesamt weniger in einer Vereinheitlichung der Verfahren liegen, wie sie etwa in einschlägigen How-to-Anleitungen auf Youtube angeboten werden, sondern darin, wie sehr dieses Format als Labor für ganz unterschiedliche Experimente mit und an Filmen genutzt wird.… continue