Except if we’re one of the rebellious, sad creatures dragging themselves around, with the best of me essay black hair and lips. The bad state of mind and pain burst out as aggressive music.
Talking about bravery, so too, by the way, was Suzanne Moore’s engrossing, long, personal essay for Unherd on why she left the Guardian. Ian Leslie’s extraordinary love letter to Paul McCartney is the sort of gift we all secretly – and sometimes not so secretly – hope for before we die. Leslie captures the sheer, astonishing, largely unrecognised range of McCartney’s genius, detailing a lifetime’s achievement with the affection of a fan and the eye of a crime reporter.
He accused the administration of knowing about my rape and burying their heads in the sand. This former student was a few years older than me, someone I had never met, but he had heard about the party even though he had graduated and was away at college. He wasn’t buying that the school hadn’t caught wind of it. In private moments, I hoped that people would use another word, the word I tried to use, once in a physical exam with a doctor, another time with one of the boys whose body I could recall moving above mine while I moaned in pain. I asked the doctor, who told me she wasn’t qualified to answer that question before bolting from the room. Rapist, I exploded in a burst of dizzying liberation a few nights later at this boy.
The analysis is coherent and persuasive, and the diverse perspectives are highly informative and enriching. No need for a double feature on this one (though I dare you not to look up any of the numerous supercuts sampled in the video). Throughout the pandemic, I have become fascinated with the idea of extending the screen-mediated experience of the world beyond the actual computer or smartphone interface. Chloé Galibert-Laîné already explored this notion in 2020’s Forensickness; this year, Jessica McGoff utilised the ‘desktop cinema without the desktop’ approach to reflect on attending digital film exhibitions within the spatial monoculture of her apartment. A paper-made quasi-cinematic dispositif crushed by an intervention of a fluffy cat is only one of the many playful experiments McGoff stages to invent new ways in which we can exploit the limitations of the pandemic against the grain. Ross Gay’s essays have been called “exquisite” (Tracy K. Smith), “imperative” (the New York Times Book Review), and “brilliant” (Ada Limón). Now, in this new collection of genre-defying pieces, again written over the course of a year, one of America’s most original voices continues his ongoing investigation of delight.
It was a bit of fun to them, as it would be to an English crowd; besides they wanted the meat. I had no intention of shooting the elephant – I had merely sent for the rifle to defend myself if necessary – and it is always unnerving to have a crowd following you. I marched down the hill, looking and feeling a fool, with the rifle over my shoulder and an ever-growing army of people jostling at my heels. At the bottom, when you got away from the huts, there was a metalled road and beyond that a miry waste of paddy fields a thousand yards across, not yet ploughed but soggy from the first rains and dotted with coarse grass. The elephant was standing eight yards from the road, his left side towards us. He took not the slightest notice of the crowd’s approach. He was tearing up bunches of grass, beating them against his knees to clean them and stuffing them into his mouth.
One technique showcased in the TV Dictionary series was to let a scene play out with minimal, yet still integral, textual commentary. Libertad Gills, who added an entry on Derry Girls to the collection, adopts a similarly minimalist approach to her use of captions in this video, which runs through a sequence from Affonso Uchoa’s Seven Days in May. The result is an explanatory scene analysis that displays the lightest of touches. F.D. Signifier is one of the most cuttingly insightful media critiques, and his work on Bo Burnham’s quarantine ‘masterpiece’ hits into why this type of art can ring hollow or shallow for as many people as it resonates with. Beyond inspirational, and field changing, nothing made me want to throw in the towel on making more than seeing Binotto’s playful, critical, and incisive video series Practices of Viewing. Each one challenged our ways of ‘seeing’ and making, each one carefully bringing in new techniques to test the boundaries and possibilities of videographic form.
Features of Narrative Essays
I know this all sounds a bit odd given that these ‘people’ are creations with no life of their own, but there are times when I’m genuinely surprised at how they develop. Many a time I’ve tried writing a scene that I’d set out early on in a plot outline that I thought was dramatic or would take the narrative from A to B, but it hasn’t worked. Sometimes the words just don’t sit right – it’s like trying to flatten out bumps in an old duvet.
- Generally I’d exclude wall-to-wall-talking-head channels from a list of great video essays, but CJ the X is in the middle of an annus mirabilis.
- My final vote in the poll (as I will retire after a long but happy stint as participant in it this year) goes to yet another young filmmaker, long interested in found footage, who is now making online video essays.
- I looked at the sea of yellow faces above the garish clothes-faces all happy and excited over this bit of fun, all certain that the elephant was going to be shot.
All I knew was that I was stuck between my hatred of the empire I served and my rage against the evil-spirited little beasts who tried to make my job impossible. Feelings like these are the normal by-products of imperialism; ask any Anglo-Indian official, if you can catch him off duty. There’s always room for improvement, and you will never stop growing as a person. It’s easy to say, “Maybe next year,” but why not now? Why not be a better version of ourselves every day of our lives? You already know what you want to change about yourself, so make every day of the year the moment you actually do it.
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I could use all my skills to be part of an incredible industry and help other ‘dreamers’ experience magical destinations, just as I had. I always attempt to curate my suggestions for the annual best video essays lists in a way that represents the breadth of video-essayistic output. Binotto’s Practices of Viewing series reflects sophisticated, in-depth, and yet very accessible and informative introductions to film-analytical concepts that are very suitable for both teaching purposes and film-scholarly thinking more broadly. I like Mask in particular because it evokes multiple layers of cinematic framing and spectatorship that seems to speak intuitively to our current moment of increasingly ‘masked’ experiences of the world. My final vote in the poll (as I will retire after a long but happy stint as participant in it this year) goes to yet another young filmmaker, long interested in found footage, who is now making online video essays.
What they accomplish is one of my favourite forms of video essays on YouTube. It’s informative, well researched, yet personable and accessible.
Geller looks at how a video game, several films, and a TV show use their structure to examine the passage of time. Khadija is funny, snarky, our ‘Millennial Auntie’ and in this video becomes a film professor to give an overview of the intersection of Blackness and the horror genre. It would be at home in any university course on the subject, but Khadija goes full out swapping costumes and sets to give as much entertainment as insightful analysis of a broad and deeply important topic. David’s video fulfils the dream but does so by rendering it a disturbing nightmare. The longer I watch the more I fear this video will damage my brain irrevocably. Misek offers a thoughtful and ever-timely exploration of the ways in which commercial archives mediate – and commodify – our access to the past, and offers a mode of resistance in the form of a direct intervention.
It left me overwhelmed yet at the same time made me want to work myself in exactly this state of overload. I guess I heard the Althusserian interpellation in the title.
Narrative Essay – Key takeaways
It is one of my personal goals to earn the opportunity to showcase properties that I love and learn how to convey that emotional connection to clients. Tim Rogers transitioned from being a leader within New Games Journalism to producing some of the most in-depth video reviews about video games and how they create meaning. This epic six-hour essay goes in-depth on a little-known Japanese romance game, including summaries of two playthroughs of it. In line with the rest of Rogers’s work, it is not merely about this game, but about a sprawling, branching series of fascinating tangents around interpersonal relationships and how interactive art can engage them. A trip into the video essay metaverse, but done in a unique and funny style that makes potentially academic content propulsively entertaining.
It is the presentation of your outlook on the topic that is the focus of the essay. The Burmese sub-inspector and some Indian constables were waiting for me in the quarter where the elephant had been seen. It was a very poor quarter, a labyrinth of squalid bamboo huts, thatched with palmleaf, winding all over a steep hillside. I remember that it was a cloudy, stuffy morning at the beginning of the rains. We began questioning the people as to where the elephant had gone and, as usual, failed to get any definite information. That is invariably the case in the East; a story always sounds clear enough at a distance, but the nearer you get to the scene of events the vaguer it becomes.
Things I Don’t Want to Know is the first in Deborah Levy’s essential three-part ‘Living Autobiography’ on writing and womanhood…. The inspirational wisdom of Oprah Winfrey, collected for the first time in a beautiful book…. The revolutionary writings of Audre Lorde gave voice to those ‘outside the circle of this society’s definition of acceptable women’…. A classic work of psychology, this international best seller provides a groundbreaking insight into the human mind…. David Sedaris’ remarkable ability to uncover the hilarious absurdity teeming just below the surface of everyday life is elevated to wilder and more entertaining heights….
- But other days I just don’t feel like it – all I want to do is get my head down and write.
- However, knowing where to begin and how to go about completing the assignment is not always easy – especially if you’re still adjusting to university life and you haven’t written at undergraduate level before.
- She knows exactly how to break down tasks and simplify guidance, and she knows what techniques to use for different essays.
- Yet, rarely do videographic essays delve into such meticulous depth as Greene’s investigation of her ongoing encounters with The Elephant Man’s soundtrack.
Allow them to work together as you share and expand on the main points. The important part is that you’re studying a subject where you’re tasked with writing an academic essay – a piece of writing where you need to answer a set question or respond to a statement. I was in a very bad place with my essay writing before working with Chloe and I was tying myself in knots about it.
The assured audiovisual approach and well-judged rhythm of this piece are part and parcel to its intellectual and affective impact. Elisabeth Brun duly complies in the statement accompanying her intimate and spectacular 3 x Shapes of Home, but the film contains all the elements it needs to explain itself. I love how it’s unsatisfied with, and unafraid to compromise, its own beauty, and how the playful voiceover interacts dynamically with content and form. YouTube video essays have generally bloated into hours-long https://collegeessayhelps.com/college-essay-writing-help/ vlogfests to maximize monetization algorithms, but here is a rigorously crafted tour de force that rewards rewatching for the many memeic details it contains. It breathlessly performs a mind engaging the internet on its own terms, utilizing the temporal and audiovisual affordances of always-on networked life to reflect thoughtfully back upon itself. Introspection and the act of watching emerged as recurring themes across a year in which video makers responded to the realities of a continuing pandemic.