I made this video to interact with the "Conceptual Epigraph" videographic exercise developed by the Ways of Doing initiative. As explained on the website, the exercise is "part of an exploratory series, this exercise is designed to encourage feminist citational practices in which the process is envisioned as a means of public thinking through a media object without the pressure of polish or publishing." I used this exercise as an opportunity to workshop some thoughts about the aestheticization of labor in contemporary Japanese film and television, but I also scratched an itch I'd had to ask what it might be like to create a fake screen recording of a fake website. Details about the exercise can be found at https://waysofdoing.com/feminist-citational-exercises/the-conceptual-epigraph/

I made this video to interact with the "Dis/Re/Orienting Cinematic Language" videographic exercise developed by the Ways of Doing initiative. As explained on the website, the exercise is "part of an exploratory series, this exercise is designed to encourage feminist citational practices in which the process is envisioned as a means of public thinking through a media object without the pressure of polish or publishing." Details about the exercise can be found at https://waysofdoing.com/feminist-citational-exercises/dis-re-orienting-cinematic-language-barbara-zecchis-feminist-mechanisms/

I made (most of) this video while participating in an online, informal workshop on parametric video exercises designed and organized by Ariel Avissar over the summer of 2024. I followed most of the instructions Avissar created for the second exercise of the series he entitled “Payne’s Constraint,” which is adapted from Alan O'Leary's explication of Matthew Payne's “Who Ever Heard...?”

I made this video while participating in an online, informal workshop on parametric video exercises designed and organized by Ariel Avissar over the summer of 2024. The video loosely follows the instructions Avissar created for the first exercise of the series he entitled “Laird’s Constraint,” which is modeled and named after my own "Eye-Camera-Ninagawa" (which feels a bit weird).

I made this video while participating in an online, informal workshop on parametric video exercises designed and organized by Ariel Avissar over the summer of 2024. The video loosely follows the instructions Avissar created for the first exercise of the series he entitled “Grant’s Constraint,” which is modeled and named after Catherine Grant's “Satis House.”

I made this video to interact with the "Making Materiality Matter: Johannes Binotto’s Art of the Process" videographic exercise developed by the Ways of Doing initiative. As explained on the website, the exercise is "part of an exploratory series, this exercise is designed to encourage feminist citational practices in which the process is envisioned as a means of public thinking through a media object without the pressure of polish or publishing."

I made this video to interact with the "Found in Transition" videographic exercise developed by the Ways of Doing initiative. As explained on the website, the exercise is "part of an exploratory series, this exercise is designed to encourage feminist citational practices in which the process is envisioned as a means of public thinking through a media object without the pressure of polish or publishing." This exercise helped me think through the formal choices of transition I found in Nishikawa Miwa's "Ninth Dream" contribution to the 2007 anthology "Yume Jūya (ユメ十夜)." More of an affective "vibe" than an argument, the resultant video was extremely illustrative in helping me think through my larger study of Nishikawa and her films. Details about the exercise can be found at https://waysofdoing.com/feminist-citational-exercises/found-in-transition-catherine-grants-dissolves-of-passion/

Voice Over Exercise for the "Doing Women's Horror Film Global History" video essay workshop organized by Alison Peirse at The University of Leeds. Parameters: "Produce a short video on your selected film using your own voiceover. The voiceover should relay an anecdote, tell a joke, read from some piece of writing, or otherwise provide an independent channel of material not overtly related to your film. The project must also incorporate some sound from the film itself. Video should be one continuous sequence from the film; duration and/or scale can be manipulated, but it should include no new video edits." —Exercise developed by Catherine Grant, Christian Keathley, and Jason Mittell. I cheated a bit. Although I used one continuous sequence for the piece, Yakusho Kōji only appears as a single entity in the original scene with no on-screen doppelgängers, and certainly not in reverse.

PetchKucha exercise on Kurosawa Kiyoshi's CREEPY (2016, cinematography by Ashizawa Akiko) for the Doing Women’s Global Horror Film History collaboration organized by Alison Peirse (University of Leeds).