A Year of Supercuts: Demeter

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 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/

How I sorted through some thoughts about Kinoshita Keisuke's 1950 film WEDDING RING.

Videographic Trailer exercise made for the 2022 Middlebury College Workshop on Sound and Image.

Just a short, fun video I made for my students to highlight the visual similarities between Kurosawa's YŌJIMBŌ and Leone's FISTFUL OF DOLLARS.

Created for The Essay Library Anthology Vol. 5: "Secrets"

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).