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| Acknowledgements |
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PART I New frameworks for writing about screen media |
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1 | (70) |
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3 | (12) |
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(Still) learning to write about screen media |
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3 | (3) |
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6 | (7) |
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13 | (2) |
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2 The big picture: Strategies for writing about screen media |
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15 | (10) |
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15 | (3) |
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18 | (1) |
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19 | (1) |
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20 | (1) |
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21 | (4) |
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3 From screen aesthetics to site design: Analyzing form across screen media |
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25 | (18) |
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25 | (2) |
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Close readings: case studies |
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27 | (12) |
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39 | (4) |
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4 Entering the conversation: How and where to develop a critical argument |
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43 | (16) |
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43 | (2) |
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Thinking on the page: free writing |
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45 | (1) |
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Structuring your argument: outlines |
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46 | (2) |
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Setting the scene: introductions |
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48 | (5) |
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Telling a story: evidence |
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53 | (2) |
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Making a last(ing) impression: conclusions |
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55 | (2) |
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57 | (2) |
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5 From notebook to network: When and how to use digital tools |
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59 | (12) |
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Digital resources: reading, watching, writing |
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59 | (5) |
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64 | (1) |
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65 | (2) |
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67 | (1) |
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68 | (3) |
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PART II Writers on writing about screen media |
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71 | |
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73 | (2) |
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6 Writing about transnational cinema: Crazy Rich Asians |
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75 | (4) |
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7 Capturing moments: Writing about film festivals as events |
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79 | (5) |
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8 Writing about experimental cinema: Andy Warhol's Empire (1964) |
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84 | (4) |
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9 From meaning to effect: Writing about archival footage |
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88 | (4) |
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10 Making the absent present: Writing about nonextant media |
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92 | (4) |
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11 Expressing race in Brazilian telenovelas |
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96 | (4) |
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12 Writing about music video: Tracing the ephemeral |
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100 | (4) |
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13 Writing across divides: Locating power in K-pop music videos |
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104 | (5) |
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14 Playing to write: Analyzing video games |
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109 | (4) |
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15 When it all clicks: Writing about participatory media |
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113 | (4) |
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16 Feeling out social media |
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117 | (5) |
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17 "A Very Black Project": A method for digital visual culture |
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122 | (4) |
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18 Writing about transnational media: From representation to materiality |
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126 | (5) |
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19 Writing about digital and interactive media |
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131 | (6) |
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20 (Un)limited mobilities |
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137 | (5) |
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21 Context is key: How (and why) you should write about outdoor advertising |
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142 | (7) |
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147 | (2) |
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22 How sound helps tell a story: Sound, music, and narrative in Vishal Bhardwaj's Omkara |
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149 | (5) |
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23 Writing outside the text: A cultural approach to exhibition and moviegoing |
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154 | (5) |
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24 Writing about streaming portals: The drama of distribution |
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159 | (4) |
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25 Analyzing and writing about credit sequences |
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163 | (6) |
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26 "We are not thinking frogs": The archive, the artifact, and the task of the film historian |
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169 | (4) |
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27 Show me the data!: Uncovering the evidence in screen media industry research |
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173 | (4) |
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28 Researching and writing across media industries |
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177 | (5) |
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29 The value of surprise: Ethnography of media industries |
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182 | (4) |
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30 Listen up!: Interviewing as method |
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186 | (4) |
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31 The need for translation: Difference, footnotes, hyperlinks |
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190 | (9) |
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197 | (2) |
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32 Words and more: Strategies for writing about and with media |
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199 | (7) |
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33 Best practices for screen media podcasting |
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206 | (5) |
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34 Confessions of an academic blogger |
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211 | (5) |
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35 The research and the remix: Video essays as creative criticism |
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216 | (5) |
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36 Foregrounding the invisible: Notes on the video essay review |
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221 | (5) |
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37 Review, edit, repeat: Writing and editing book reviews |
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226 | (4) |
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38 Extracurricular scholarship: "Writing" my audio commentary of Losing Qround |
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230 | (4) |
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39 The short, sweet art of blurb writing |
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234 | (4) |
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40 Bridging the gaps between scholarly essays and mass-market film writing |
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238 | (5) |
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41 Writing across the page without a line |
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243 | |
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