Episode 9. Johannes Binotto — The Video Essay Podcast

hello and welcome back to the video essay podcast a show featuring conversations with leading critics scholars filmmakers and other creators about the craft of videographic criticism i'm your host wildegravian on today's show i sit down with one of my favorite

video essayists scholar johannes binoteau i know it's been a while i thank everyone for their patience lately i've been releasing only one episode per month that has been mostly due to finishing up my first semester of graduate school so

i do hope that going into the new year now that i've gotten adjusted to life as a graduate student that i will be able to return to releasing two episodes per month that is my new year's resolution and i will try to hit it as often as possible

but if i do not i hope folks understand and if you notice that i haven't released an episode yet for the month or i've only released one just keep me in your thoughts as i'm probably trying to meet some deadline before we begin today's show i just want

to share some news from the world of video essays as i mentioned on the last show the scholarship and sound and image workshop at middlebury college is back you can spend two weeks in vermont learning how to produce videographic criticism

from some of the best practitioners out there my former professors christian keithley and jason mattel and also the one and only katie grant the three have also just published a new online book called the videographic essay

practice and pedagogy the website collects their previous and also includes some new writings about video essays and also includes examples of video graphic exercises from the workshop you can find links to

both the workshop and the new online book at thevideoessay.com and also the tel aviv international student film festival is currently accepting submissions for their thinking images program

which is dedicated exclusively to video essays and videographic works the call for entries is now open for submissions by students teachers scholars critics and filmmakers worldwide you don't have to be a student to submit and they're looking for works that are

distinctive and that use innovative approaches to express their ideas work selected for the program will be screened at the tel aviv cinema tech during the upcoming festival on june 21st through the 27th and the

submission deadline is january 30th uh shout out to ariel avasar for sending this information along you can find more information and links at videoessay.com and finally i'd just like to give a shout out to

a few other video essay resources that have recently been published kevin b lee hosted the creating insights video essay symposium and links to all the talks from the symposium are now available online uh there's a

new project from ian garwood that collects his writing and auto visual material related to his indie vinyl project about records in u.s indie cinema from 1987 to 2018

u.s indie cinema from 1987 to 2018 and there is a new collection of video essays that were just published in nexus the european journal of media studies edited by

tracy cox stanton be sure to check out all those resources and again you can find links at thevideoessay.com and now here's our conversation with johannes [Applause]

hey look it's ringo yeah hello kid and now i am so pleased to welcome on to the podcast one of my absolute favorite video essayists and we are meeting for the first time

johannes binoto be honest it's such a pleasure to have you here welcome well same here i i think i'm probably even more excited than you are well i'm glad to hear that hopefully that'll that'll make for a great conversation

my first question is a pretty straightforward one um it's one i asked everyone which is could you just give the listeners a sense of who you are your background

in what got you interested in making videographic work i'm working in academia i'm working in in i studied literature english and german literature

but i always worked on on film and now i'm teaching film studies and media studies um in in lucerne in switzerland at a

at a film school and i'm also teaching english and particularly american literature and culture at the university of zurich so that's where i'm coming from and i also work as a film

critic mostly in the in the past i no longer do really like these reviews of of films i rather right now longer essays just on on the history of of of film

and do a lot of lectures and and stuff like that before you begin making a video graphic work yourself were there video essays that you were watching do you remember the first

video essay that you ever watch i would just i just want to get the i want to trace your your origin story as it were yes and i also thought about that and in fact it's a it's

it's a it's a difficult question on the one hand i i realized that i've um in my in my writing and really writing is is is in fact like my

my my main thing that i that that i do that i realize that i'm more and more drawn to these very specific um

close readings of instances in in movies then also i i just realized that like since i was since i'm

since i was a child i had a a a knack for films that are about other films so it's really difficult for me to say what was the first video essay that i

saw i thought about i have a very strong impression a very early impression of how it struck me this moment in francois

falls fahrenheit 451 where the books are burned and when we just have these close-ups of books and that is something that is very also specific for for trifo this idea that in his films he

would like quote other artifacts and it struck me how this how moving this is because it links i mean we all have our

own memories of perhaps of certain certain books we realize ah i i know this particular book and it is also a dear to me and i think that is

somehow how it started and then of course i always was drawn to also to experimental work that was working with that so a very strong

influence for me is like the found footage work by the film the german filmmaker matthias miller matthias miller and also christopher

day and how they quote and use instances of other films in order to make something new and strangely enough i never had the fantasy although being a total

movie buff i never had the fantasy of doing films myself i always thought i know too many things about movies and i i know so many great movies there's no need for me

to do some but in my in my lectures and also in my texts it often is like that i'm working so closely with these movies and also in my lectures that i'm very specific with the

clips that i use and how i comment them and i repeat them and i saw something similar in the font footage practice of something like so someone like matthias then i realized

oh that's actually something that i could do um myself also because the whole technology of how to edit

uh movie clips how to to to rip dvds and stuff when that got uh available because you have to remember i mean i'm i'm born 1977 so i'm very much a child of the

of the vhs tape and and there's also as a as a child and as a young boy i also used to photograph the tv screen

because i wanted to have i it also has very much to do with like the the the fantasy of owning and getting into possession of these films that i love so i wanted

to have these images of certain moments and that was the only way how i could imagine how to to to to get hold of that and of course eventually with the

with the digital uh media it got more and more that what what i first had to in contrast to to when i had to photograph the tv screen i realized okay now with

with with the new technology i can actually take these these clips that i'm so fond of and sort of that is how it evolved i love everything that you're saying because it explains so much of the

passion that i sense in your work um and so that which it makes me want to just dive right into the the two video essays by you that we'll be talking about but i don't want to go there just yet

um i will tease for our listeners uh johannes has recently finished a a book chapter on video essays that um is forthcoming um and i've read it and it's fantastic so definitely be on the lookout for that

but in your writing you tie as many people have videographic criticism to cinephilia um and is your own and this is

i'm asking this question in part in response to what you just said what is your own cenophilia do you view that as a is that what your video essays are in

part a byproduct of would you say yeah it's in fact a difficult question on the one hand for sure i mean also my own video essays are very much about

how can i get into a deeper involvement with these films that i love how can i almost like step into these films by re-editing

them i mean it puts you into a similar position like like the directors that you're that you're that you're fascinated with but then at the same time i also realized that i only started

to do video essays when i was more relaxed with also doing harm to these films because i think the also the the video essay practice

quoting of certain scenes as much as it is a aspect of fascination it is also something you're doing harm to these to these films literally and of course that is something that

that laura malvi she talks about this this strange combination of of fetishization but also destruction of movies so yeah it's sort of a byproduct

byproduct of of cinephilia but it's also a kind of like a form of distancing to that and also in my video essays i think i'm also very much concerned with all the things that

happen in these films that were not intended by anyone not by the director so it's a it's a there's something i hope something anti or tourist

in my in my in my video essays that kind of like that that i would always hold on to this idea that i think films also like all other works of art they're always more intelligent than the people that they're

making that make that that are making them that's such a beautiful way to put it and it reminds me of something similar that jen proctor and i talked about uh two episodes ago in relation to the films of martin

arnold which is that in what you're saying is that you're destroying you're appropriating the film that you're using and i think that for me the most effective examples are that are the

essay films or the video essays that really own that destruction and and put it at the forefront and don't try to hide the appropriation and it seems for me that's

those are some of the pieces that i find the most intellectually stimulating and it reminds me a lot of your piece facing film which i don't want to i don't want to transition to just yet but i'm i'm just curious what

was the first video essay or or videographic exercise uh that you tried yourself uh how did that go

tell us about that really my first own video essay was in fact the trifo slash truthful

one no kidding wow okay so before we get to that i want to quickly go back to to hitchcock because you've correctly identified our shared obsession with hitchcock why are people drawn to him for videographic work apart from the obvious

that he's probably the greatest director ever but it seems to me if you were to tally up video at all you would let all the video essays and pile them up director by director he would probably be

at least in the top five if not first or second on the list i wonder if you have any insight into that well i think i think on the one hand is of course like the over is is is very

rich and not just like in regard to that he is a master of stylistics but what i find more and more so fascinating is of course that he's a very experimental filmmaker i mean it's just like

filled with stuff that is still too still to be unpacked i think and that's in fact that runs kind of counter to the to the cliche that also

he himself always put out this idea of like that every aspect in this film like every single frame is has like a clear

function and i think that is in fact not the case but what is so surprising is that we look at these films and we have all these close-ups of stuff that we're not quite sure what to do with it and i think that is

something that that keeps us drawn to this particular filmmaker in addition to that just because he has been

the object of so so much criticism that that in itself is also you start to get into conversation not only with these films but also with all the other critics and also very famous critics and i mean

truffaut is one of the examples uh kudar would be another one that that you also start to get into conversation also with those that that that looked at these films before you

absolutely i often i often get pushed back from people who and i say i've written about hitchcock because isn't it hard and boring to write about someone who's been picked over so many times and i say no

it's it's the opposite it's the complete opposite as you say and i remember listening to an interview with guillermo del toro another hitchcock devotee who actually wrote a book about hitchcock that i don't think has been translated

into english so someone someone should get on that uh many years ago when he was teaching in mexico but he talks about hitchcock's accessibility um as a filmmaker even though you know the craft is

superb so it's deceptively simple but it's very accessible to people but let's let's use this as a segue to talking about truffaut and your first video i say which i'm shocked here that was your first

first video essay because it's it's one of my absolute favorites and holds the distinction of being the first thing i ever wrote about for filmschoolrejects.com i don't know if you you knew that but when i when i got an internship there my first

assignment was to just write about video essays and that was the first semester i studied hitchcock and truffaut's hitchcock was like our textbook for the course i was just naturally searching for things and i just happened upon your

video essay i was like i have to write about this so i'll throw an unusual disclaimer which is pause our conversation and go to the video essay.com and watch you want to say it's like two minutes long so you have literally no

excuse not to watch it but once again please give us the origin story behind that because it's just a brilliant insight and connection so i want to hear how you how you came upon it

yeah i i i love to do that and and of course that's also one of the reasons why i'm why i was excited about about having this conversation with you because i always had an impression that that you

apart from my from my um oldest brother that you were the only one that really got this video essay he came across

this particular instance on a tv show um when he talks about the definitive edition of the truffaut hitchcock book

he was invited to this tv panel to talk about that and there's an instance when the the moderator quoted

from the book and we have just a short shot on truffaut and i realized that he's moving his lips and that he's mouthing his own text and

to me that instance was always kind of uh it really struck me and and it moved me very much also because i knew that i mean books are so important for truffaut

and he always also had this fantasy of writing a great novel himself and he never did but the truthful hitchcock book is kind of like this

great novel of his and it struck me that i realized okay he has this this is so important to him that he he he literally knows his own book

uh by heart and he cannot help but reveal that and it was really and and so the origin idea for the video essay really was that i that i kept showing

this clip to people it's because i i thought you have to see that this is incredible this moment and then i had this idea that i thought oh i could actually just

isolate this particular instance and and and show it but it was very much a a drive to i wanted to show this instance um to other people

i i love that you're saying this because that's the exact i i i think the first time i watched the essay i had like an emotional visceral response to it because i got that in the tone of the piece

and those are my favorite kinds of video essays the ones that have the tone of saying here's someone who's discovered something and they're so excited to share it with other people that they went ahead

and made this video essay those are my favorite kinds and that's why i have a preference for video essays not that yours is not polished because it is but i have preferences for video essays that aren't very polished that

that are rough around the edges that just feel someone who someone who just taught themselves premiere or final cut pro just to get this thing out into the world and onto the internet and those are my favorite kinds of

pieces and so to hear you say that it it just makes it even more powerful the piece and i think also what you what you say i mean so i have the same attitude and in fact i also

think for me personally that is a very important aspect also like the amateurish quality because i also think as much as i'm

of course impressed and i admire the skills of really polished pieces it's something that i realize on the one hand that perhaps i'm not capable of because i'm i'm not a

filmmaker i never had any training in filmmaking so this is this is all done with very poor technology but it's almost like on the one hand you

could say well but that does not really matter because concept is so much more important but it in a way it does matter for me because it's it's all about that it's it's in

fact also i mean i think it's okay also to show that you that you're working with with poor technology it's okay that you show that you did this um as an amateur

to keep going off what we've been discussing the other types of video essays that i like and i'll use this as a transition a little bit talking about facing film is video essays that hyper focus on

one moment or even even less than a moment like like one or two frames and that just really dive in deep and become their own media

object right an analysis of something that perhaps couldn't be a newspaper article or a journal article or even a full blog post on a website but but through the medium of the video

essay just like film itself can be expanded and drawn apart and manipulated and i honestly that to me is the most appealing aspect of videographic criticism and i noticed that katie commented on

facing film that it was what the medium of video essay was for was things like facing film and again it's another two minute video essay so everyone should go watch it right now but let's adjust into that and

talk a little bit about how that video essay came into being so i i agree although i i also have to say i i really love also video essays that are able to look

at complete films to look at complete errors to look at even like at a whole film history and i also remember in regarding what were the what were the first video essays that i

saw that of course i always also was very much in love with the super cut that we had although the the term was not yet used those super cuts at the academy awards when they

um when they had like these directors just like a compilation of clips i always liked that so i also realized that i have yeah that i have an obsession for the

minute detail and again while i see other video essays being so yes so able in bringing together all these different instances and also

being so smooth and fast and i find that fascinating i realized well but perhaps then this is not something that

that i also must try to achieve maybe i can go into a different direction so i realized while others would make it faster and have more cuts

i tend to i started thinking about okay how to make even less cuts how to focus on even on an even smaller section on an even

more microscopic detail so now we're facing film there's this instance in stagecoach that is incredibly famous and of course there's

good reason for it because it's really like the moment when john wayne is shown to us this fantastic um close-up of his face and of course i was familiar with that that scene but i was

always also yeah i was just fascinated also with with the question of of the close-up and i and i did write several pieces about a close-up and i started

to combine that with a fantastic a theory piece by sean epstein the the director and and film theorist about close-ups and i just found it interesting to

combine the two that it's almost like this close-up in stagecoach the close-up of the face of john wayne it's almost like the perfect

illustration of what epstein describes in his article but of course it's a fun pairing john wayne and sean epstein also if we keep in mind epstein with his homosexuality it's a

very different kind of masculinity that that epstein stands for in contrast to john wayne and i thought and i also continuously just showed this particular instance and the

longer that i looked at this instance in the film i also realized well it's not only the close-up of john wayne's face that is so fascinating here but also because it's a tracking shot

this moment when the image is getting blurred and i start to wonder about okay what can we do with that instance right before the actual close-up

when the camera is moving towards the face and the image gets blurred and that this in itself is also fascinating and then i kept looking at it

i was already in the midst of making a video essay out of it when i started to realize that there's even more in this moment that i started to get obsessed with just like the

the scratch marks on the surface of film that we also see in in this particular instance this particular video essay really was for me a form of exploration

something that happened while i was working on this video essay it's also something that i that that struck me in your discussion with with adrian that also he talks about that that that

he also sees the video essay not as a uh that you just fulfill with the video i say something that you have conceptually already beforehand as a written script but

really that is something of the video essay itself is a research tool and you'll find something of which you do not yet know beforehand what it is absolutely i know the phrase jason

mattel uses a lab of sounds and images could you talk a little bit about your decision to use text on screen for the piece like did you consider using and i guess this could apply to the true

photo but did you consider using voice over at all what was the reason behind that yes i'm i'm still struggling with that with with using the

voice over because you prefer also written text in contrast to voiceover although you just recently did a really beautiful one with uh with

with voiceover oh thank you so it's uh i mean one aspect of it is really that i have i feel a bit uncomfortable with my own voice

as as many of us do but i also thought using written text forces me to be so that it's even more reduced

that if i use text and if i use quotes okay to have as little text as possible but at the same time also to give it a very not to try to make the video essay

smoother and faster and catchier but i'm interested personally i'm interested in video essays getting slower almost like there's a meditative aspect to it and also with

the with the text i think although it's a very although facing film is a very short video essay i think it feels pretty long because we have just like continuously the same shot

over and over again than even in slow motion and also the text inserts are reduced in a way that sometimes i also wonder if one can even make sense

out of the whole sentences that are spread across several uh shots of the video essay or if they start to become just like that the words themselves

become mysterious i i'm not sure if i'm making sense here no you're making complete sense it's just gonna be thinking first of all i do think the continuous sentence works and i hope you'll do voiceover eventually but i do agree that i think

in this particular video i say text on screen is the most effective because i and and i think this is true for the truffaut piece too the pacing in each is so well done and the pieces they kind

of build up like like at the end of the first one it's life repeats art and continues i think i might have watched that quite a little bit but something that effect and then in

facing film it's you know face of film it's kind of you've built up to it and you keep zooming in to the texture of the film image and that's also the reason why i think it is easier

if you have just like one one moment i mean your video essay about my darling clementine this moment with the barber i think i really love that

and it's such a strong moment and what i find fascinating what i'm still struggling with is then the question how do i move from this instance that is so

strong how can i then bring into play other instances in the film and i mean you managed fantastically in that but that is something that i'm still i'm

i'm still very much struggling with because it's it's almost like i have a feeling that if i then leave this moment that i'm obsessed with i've lost my rhythm and i've that that's really the hardest

part so again the quality is also a product of my inability well i thank you first for your kind words about my piece i i really appreciate it but both of these essays

are about more than just the film that you're talking about right like intertextuality plays a key role in this work right whether it's true because you have truffaut his films the television show

books and then in the facing film it's stagecoach the story the film image your video essay and epstein and then your own analysis

are all coming into play here i think that's a good transition to talking about the piece that you've selected for us to talk about i i'd would you mind introducing it and telling us why

you selected it i selected the documentary or essay film the skino and devind and photography so cinema and the wind and photography

by hartmut pitomsky from 1991 it's one of the examples of an of an essay film that is um important to me others would have been

um by harun faraki which is very very important to me but i also wanted to to choose something that is easily available that can actually be seen online

and but tomsky perhaps is not as well known as faraoki's films and it's a strange piece because it's kind of like a

a reading of different scenes from documentary films and by doing that by showing them and talking about them btomski and his students

they try to convey a whole theory of documentary film but at the same time it's also not a theory in the sense of a complete theory but the main point is

really that it is a theory in the making that it's almost like we we're still not sure what documentary actually is and we have these different films and

i and i have ideas about that and there are texts that i that i've read about them and you have very much the feeling i i think in this film of being part almost like of a seminar of a

of a research or really of of being in in a in a lab of um attending to to a experiment in the in the making yeah the film is so much about the process of making

it and the process of making films and doing research in general and so we are as you say we're really like like sucked into that whether it's reading books watching films

watching them watch films watching films simultaneously hearing his analysis of films it's quite extraordinary and so do you see this work as an influence

yes on on several levels i also just find it again it's something that i want people to see because i feel that it's that it can be really inspiring also in the sense of

that it doesn't need to be glossy but that you can also show the process of working with film material you don't have to hide it so it's really also formal aspects in

this film that i'm that i'm so in love with the fact that he has all these different tv monitors and that he shows how he puts a vhs tape into the machine

and then says okay we'll move the camera now to this screen here and when he talks about a text he will take he will pick up the book and open the book and look into it so something also

like someone like jonas mekas did which i also really loved it's just like yeah you can you can show where this where this is coming from you don't have to gloss this oh you don't have to take it

out because the very process of that is also revealing because it it is in fact one of the arguments of this film that that it shows

that documentary filmmaking and i would say every kind of filmmaking and also every kind of thinking about film is not just it

is not something that takes place in an ideal situation and i mean ideal also in a philosophical sense that you just that you're aiming at

ideas but that it's actually a very hands-on process that you're that you're dealing with machinery with technology and that the technology itself

has ideas implemented in it and that you have to deal with that and that is something that i find really fascinating so that is something that is also very inspiring for

yeah for what i would call video essay as a as a parapraxis parapraxis this this notion by by freud which is usually understood just in a negative sense

parapraxis as a kind of like a a mistake and something that that happens by accident and for freud of course these moments of parapraxis are moments when the the unconscious is encountered

and i would claim that this unconscious is also very much linked to the technology itself these machines they're also doing something else that we intended and i

love the fact that this can be made made part of this film so i also love the fact that i mean we see these clips on the tv monitors um that that bitomsky

uses and the image is so glitched and and and unclear and and i think but there's something yeah it makes visible that there's a

history to these images that there's a a certain technology that that that the technology that he watches them on vhs what was formerly on film

that all this has left its traces on these films and that this actually makes them even richer because there's a whole like a back history

linked to these films that go beyond just the mere topic of these films everything you're saying is reminding me of the conversation i had with uh chloe gelli bear and the last episode about ross sunderland's uh standby for tape

backup and that we talked about but the texture of the image which is which is what you're talking about but what i was thinking about as i watched this film which i i enjoyed tremendously i'm

so happy you picked it there's the uh moment where he's stacking books and vhs tapes side by side and they're just piling

them up and he's just like listen to them he's like okay he's like eisenstein's biography boom boom and they're all just piling up and this got me thinking about a couple things the first was it made me

feel like the weight of the all of the knowledge and art that has been produced and that is to be consumed and in writing and creating art and so if if we were to understand this essay

film as somewhat of a theory of documentary even though it it's maybe limiting to call it that because it's really not it's an exploration of documentary that deals

with theory and presents its own ideas anyway it's almost to say like it would almost be impossible for us to engage with everything that has ever been made as we go out to set this theory

so rather than like pretend that we know everything or pretend that we have everything under control or here we're just gonna stack everything up to show you all that is there and all that is to be consumed the second that i have which is

more related to what you're saying is that if we are to understand the origins of film the way that people who wrote about film it's important to understand how they viewed the images

and how they consumed it right so if there's a if there's a philosopher critic who we're reading who only watched films on vhs tapes in order to understand what they're saying about the film as you say you have to go you truly in

some level have to go back and watch the vhs version because there you are going to see different things just yeah i mean i mean the second thing that you that you said that is also something that i

that i found interesting in the work of of the film theorist and film historian barbara klinger she would also make this point that of course we have to be aware of these different formats

and i really like that she also says those are not just different versions of the same film but they're literally like different they're almost like remakes

the film becomes something else and of course that i mean there are several um things linked to that that we also have to to to to start to think about okay maybe

we should not only archive like the best the supposedly best version of a film but of course also all these other versions that we have

with every individual scratch vhs recordings of films but perhaps also these very glitchy and and and and reduced and lo-fi

files that are circulating on the internet um filmmaker and and film theory tito style she wrote a beautiful essay on that in defense of the poor image

for that she says well these images they also show something about like work processes and and our our times but then also i find it interesting the first part that you that

that you said because i i thought the way you started that it sounds like okay this is almost like depressing to realize i'll never be able

to follow up on all these references that are that are used here but one could also claim that it's in fact liberating that we realize yeah there are these many

illusions and it's uh and we have to let go of this idea that we could have like a complete knowledge and that in fact i think is also very crucial for bitomsky and his

understanding of documentary that he says documentary is not at all documenting what is actually there but documentary is a construction

we are witnessing how um something is a kind of a kind of truth is constructed but he would hold on to the idea of truth or something that i would link

link it to a quote that is very important to me is by the french psychoanalyst shakla khan in his uh he made a piece

on tv a long tv interview and he started out this interview with saying i'm always saying the truth full stop and then adds but i never say it full i never say the whole truth because

the truth cannot be cannot be said completely and if you claim to say it completely it cannot be the truth and i think that is that is also something that i find crucial for video essayistic work i'm

not so much interested in in video essays that claim to have that claim to be in in complete knowledge about the films that they're working on

that claim to explain to us what is going on in these films because that as a as a posture i find problematic and i'm much more interested

in these very tentative pieces that that are more about making us aware that there is more to it and that these films that they're looking at that they're still unfinished

business i i don't think it should it should be our aim to have this fantasy i want to make a video essay about about this classic and this is the last video essay

right but the very contrary it should be that that you're inspired to make your own video essay about this particular film that you realize we could do endless readings

and not definitive readings you've just touched on something that for me is why i started doing this and i'll offer my own personal anecdote the first video i say i made

which is online is was a comparison of citizen kane and rebecca which were two films that i watched for the first time the same semester i took jason mattel's videographer criticism course and i was

overwhelmed by them and i was like i want to engage with these in some ways but i was like what in the what new thing what can i write about citizen kane that

hasn't already been written 10 times and then i found this video essay by rob stone called trespassing where it juxtaposed the beginnings and endings of the two films and i thought yourself huh like what if i trespass

and the whole assignment that jason mattel constructed was make a video essay responding to someone else's and i think that is the core of of what we're doing here video essays are meant to exist online

and be part of a conversation and that's something that i appreciate so much about this film and your work as well is that it's taking films that end in continuing that conversation and i

think on that note that would be a good place to to end our conversation giannis thank you so much for taking the time to talk to us i really appreciate it thank you so much again to johannes for

a truly wonderful and thoughtful conversation on the next episode of the podcast i will sit down with the one and only charlie shackleton to discuss his work including his video essay criticism in

the age of tick tock and we'll also talk about zia anger's my first film which is a live performance piece that you will not be able to watch ahead of time however on the

video essay.com you can access a trailer to the project and also an article about the piece published on sight and sound again that's all to be found at the video essay.com where you can access all of your homework please remember to

do it before the next episode which will drop sometime after the new year begins thank you so much and have a great holiday

season [Music]