For the past couple of months, I have been hard at work at a new “Let’s Study,” the most ambitious so far. It’s for Half-Life 2, and I foresee it being spread over seven parts. Part One: Linearityis now posted.
There’s a lot of material in this particular Let’s Study adapted from the first chapter of my dissertation, as well as material I developed when teaching the Half-Life franchise in class (including this lesson from my “Comparative Media Poetics” course). My first “Let’s Study” was just a playthrough with some commentary and a bit of b-roll; for this particular series I’m really leaning in to the video essay format more, trying to create shareable versions of what are basically class lectures, or conference presentations. This particular series is still geared very much toward a general audience, but I’m using it as prep for potential future adaptations of dissertation material into video essay format for submission to a genuine peer-reviewed academic video essay journal.
As usual, the script is below the fold. Part two coming soon!
This post is part of a series that borrows the term process genre from Salomé Aguilera Skvirsky’s work in cinema studies, and explores its utility for videogame analysis. A quick definition: “process genre” films are films about labor, films that focus on processes of doing and making, that are fascinated with seeing tasks through to their completion. They are deliberately paced, meditative, and often political, in that they cast a penetrating eye on labor conditions. Are there games that the same chords? Posts in the series so far can be seen here.
I reserve the right to sporadically post future entries in this series, but with Sunset (Tale of Tales, 2015), it really does feel as if things have come full circle. As I laid out in the first post in this series, the process genre finds its most archetypal manifestation in Belgian filmmaker Chantal Akerman’s Jeanne Dielman, 23 Commerce Quay, 1080 Brussels (1975), and Skvirsky has been tracking its development in contemporary Latin American cinema. Sunset was created by Belgian artist duo Auriea Harvey and Michaël Samyn, and is about the daily life of a housekeeper in a (fictional) Latin American country. The parallels are easily drawn, but there’s also more going on here than this brief description suggests.
I have taught André Bazin’s essay “Ontology of the Photographic Image” in two very different contexts: once in the “Image” portion of the University of Chicago’s Media Aesthetics sequence in their Humanities Core, and once in a writing seminar at the School of the Art Institute of Chicago entitled “Moving Images and Arguments,” on cinematic rhetoric. Surprisingly, both times I taught it, large portions of my lesson remained the same: the main difference was that I spent more time discussing the philosophical groundings of Bazin’s piece in Media Aesthetics, whereas I used the extended course time in “Moving Images and Arguments” to show and discuss a wider variety of things.
Both times I taught this, I used Timothy Barnard’s translation, from the Canadian Caboose edition of What Is Cinema?. When that translation first came out, it got a lot of buzz, although its hallowed status might have had a lot to do with it just being notoriously difficult to get your hands on across the border in the US. I’m not going to take an official stand on the volume’s alleged superiority, although I will say that there’s at least one turn of phrase that Barnard gets right that Gray doesn’t, and that alone is enough to tip the scales in Barnard’s favor.