Tag Archives: The Phantom Carriage

In Conversation with John Gibbs

I´m an admirer of  John Gibbs’ work on the ´Long Take,´on mise-en-scène, and on style-based criticism; on his careful consideration of the implications of various choices on film style; on the ways style and meaning intersect. It´s work that often requires reading of the text in conjunction with viewing, usually before and after, and occasionally even multiple times thereafter. His videographic criticism seems a natural extension of his previous practice in prose: observant, detailed, precise.

I´ve found that, like his scholarly work in prose, his videographic criticism similarly enhances my understanding and appreciation of film style in general and the particular works his video essays explore, sometimes in ways that prove truly illuminating. As John says, it´s a means of extending both the methods and subjects of style-based criticism but with perhaps a different kind of relationship with an audience, more immediate and with a wider reach.

I was keen to talk to him about all of this and in the podcast above we discuss how videographic criticism offers new possibilities to engage with the rich texture of movies and to extend methods of style-based criticism. We explore non-linear, non-hierarchical approaches to film history, how they present new possibilities of dealing with detailed analysis of film whilst also offering greater access to criticism and the potential for a wider audience. We chat about how good video essays enable the works to speak for themselves whilst simultaneously providing particular types of analyses to criticism, new tools for teaching, and different means through which students may achieve excellence. John mentions how videographic criticism often construct a journey of point of view through an experience, more like a filmmaker than an essayist in a traditional sense and some of the these forms invite a different kind of engagement, particularly considering the different kinds of practices going on — part of the excitement — and their relationship to found footage filmmaking, gallery art practice etc.

 

The conversation refers to particular works of videographic criticism by John Gibbs (including his collaborations with Douglas Pye) and you can see them below.

 

 

 

José Arroyo