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Audiovisual Essays

When the original Movie appeared in 1962, its editors and critics chased films from cinema to cinema. Ian Cameron recalled attending eight public screenings to write about L’Avventura (Michelangelo Antonioni, 1961): ‘it meant that something which turned up once or twice at the NFT presented a considerable challenge … I got very good at writing notes in the dark.’1

In the intervening period, successive changes in technology have made many films and TV programmes readily accessible for repeated home viewing, enabling scholars to study them in unprecedented detail. Recently, the availability of low-cost editing platforms has also enabled the creation of a diverse – and now rapidly developing – videographic field, exemplified in its academic aspect by the award-winning journal [in]Transition.

Movie: A Journal of Film Criticism is committed to style-based criticism. We therefore welcome the submission of audiovisual essays which meet the journal’s central aim of encouraging work responsive to the detailed texture and artistry of film and television, bringing argument and evidence together in exciting and accessible ways.

Issue 8 (2019)


John Gibbs - 'Say, have you seen the Carioca?’ An experiment in non‐linear, non‐hierarchical approaches to film history

Read the authors' statement here.


Patrick Keating - 'Three Headlines: Lighting and Time in You Only Live Once'

Read the authors' statement here.


Patrick Keating - 'Dietrich Lighting: A Video Essay'

Read the authors' statement here.


Patrick Keating - 'From Evening to Night: A New Look at Neorealist Lighting'

Read the authors' statement here.

Issue 7 (2017)


John Gibbs & Douglas Pye - 'The Phantom Carriage: A Revaluation'

Read the authors' statement here.


Patrick Keating - 'Motifs of Movement and Modernity'

Read the author's statement here.

John Gibbs & Douglas Pye - 'Opening Choices: Notorious'

Read the authors' statement here.



[1] Gibbs, John (2013) The Life of Mise-en-scène: visual style and British film criticism, 1946-78. Manchester: Manchester University Press, p. 131.