Online Video Analysis Essay as Post-Cinematic Praxis
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As an audiovisual manifestation of cinephilia, online video analysis essays, an online phenomenon largely fueled by YouTube’s algorithm and monetization, seemingly accomplish two immediate goals: to let the essayists be productive and creative; to let them share their opinions, thoughts and theories on the films they address. Even though they sometimes join into somewhat opportunistic trends fed on popular opinion and the likelihood of a large viewership (Marvel-bashing videos, Christopher Nolan-praising videos, etc.) to the risk of sparking some controversies, online video analysis essays can be stylistically diverse, intellectually engaging, thematically pertinent and socially relevant. However, they have also come to naturally find themselves at the intersection of three debates: the validity and legitimacy of movie criticism outside of traditional media outlets such as cinema magazines, and outside the peer-review process; the closing of the gap between professionals and amateurs, both in regards to the fabrication and manipulation of images and videos, and to the basic knowledge pertaining to films and cinema; the aggregation of every kind of moving-images-based projects (films, videos, TikToks, etc.) under the artificial, loosely defined and, for some established filmmakers, downright insulting notion of ‘content’.
Abstract
As an audiovisual manifestation of cinephilia, online video analysis essays, an online phenomenon largely fueled by YouTube’s algorithm and monetization, seemingly accomplish two immediate goals: to let the essayists be productive and creative; to let them share their opinions, thoughts and theories on the films they address. Even though they sometimes join into somewhat opportunistic trends fed on popular opinion and the likelihood of a large viewership (Marvel-bashing videos, Christopher Nolan-praising videos, etc.) to the risk of sparking some controversies, online video analysis essays can be stylistically diverse, intellectually engaging, thematically pertinent and socially relevant. However, they have also come to naturally find themselves at the intersection of three debates: the validity and legitimacy of movie criticism outside of traditional media outlets such as cinema magazines, and outside the peer-review process; the closing of the gap between professionals and amateurs, both in regards to the fabrication and manipulation of images and videos, and to the basic knowledge pertaining to films and cinema; the aggregation of every kind of moving-images-based projects (films, videos, TikToks, etc.) under the artificial, loosely defined and, for some established filmmakers, downright insulting notion of ‘content’.
참고문헌 (36)
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