Podcast appearances and mentions of Jason Mittell

On today's episode, Jason Mittell joins to discuss his videographic book, The Chemistry of Character in Breaking Bad. The book is the first in a new series of open access, videographic books from Lever Press. Jason joins to discuss the origins of the book and series, the philosophy behind a videographic book, and his longtime interest in alternative, open access forms of digital publishing. Follow the show on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠. Learn more at the pod's ⁠⁠⁠⁠⁠⁠⁠⁠⁠website⁠⁠⁠⁠⁠⁠⁠⁠⁠. Get the ⁠⁠⁠⁠⁠⁠⁠⁠⁠free newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠.  Music by Ketsa.

Episode Notes Please rate, review, and/or subscribe on Apple Podcasts to help promote this show... You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/twin-peaks-cinema.html OTHER LINKS Twin Peaks Unwrapped 204: Mulholland Drive TV Pilot (featuring myself, Mya McBriar & John Thorne) https://podcasts.apple.com/podcast/twin-peaks-unwrapped-204-mulholland-drive-tv-pilot/id1005628280?i=1000452621616 "Creative Differences" by Tad Friend (New Yorker article on making Mulholland Drive as a TV pilot) https://www.newyorker.com/magazine/1999/09/06/creative-differences "Haunted by Seriality: The Formal Uncanny of Mulholland Drive" by Jason Mittell (rooting Mulholland Drive's effect in abandonment of open-ended set-up) https://justtv.files.wordpress.com/2007/03/mittell-mulholland-drive.pdf My interview with Martha Nochimson (we discuss her view of Mulholland Drive) http://www.lostinthemovies.com/2014/11/opening-door-conversation-with-martha.html David Lynch & Mary Sweeney: Dream Souls (my video essay created after this recording) https://vimeo.com/430539967 MulhollandDrive.net - Sexual Abuse http://www.mulholland-drive.net/studies/sexualabuse.htm But Who Is The Dreamer? Twin Peaks: The Return by Tim Kreider (Politics/Letters) http://politicsslashletters.org/dreamer-twin-peaks-return/ My discussion of the Kreider article on Twitter https://twitter.com/LostInTheMovies/status/1017024658183540741 My full response to Twin Peaks parts of Noelle's feedback are in the Patreon episode https://www.patreon.com/posts/episode-33-and-3-20702764 Take This Baby and Deliver It to Death (my video essay exploring abuse in Lynch's early work) https://vimeo.com/95477301 Gone Fishin' round-up (contains long excerpt of Jeff Simon's Buffalo News review) https://www.lostinthemovies.com/2014/06/gone-fishin-collection-of-commentary-on.html A Candid New Biography Tells of the Shocking Childhood That Destroyed Rita Hayworth by Andrea Chambers & Lee Powell (People Magazine) https://people.com/archive/a-candid-new-biography-tells-of-the-shocking-childhood-that-destroyed-rita-hayworth-vol-32-no-20/ MY OTHER WORK ON MULHOLLAND DRIVE My "Favorites" series piece https://www.lostinthemovies.com/2016/10/the-favorites-mulholland-drive-20.html + essay comparing it to Celine and Julie Go Boating https://www.lostinthemovies.com/2015/12/mulholland-drive-celine-and-julie-go.html + another appearance on Twin Peaks Unwrapped https://www.lostinthemovies.com/2015/11/talking-mulholland-drive-with-twin.html + in a survey of Lynch w/ review https://www.lostinthemovies.com/2014/06/the-eye-of-duck-david-lynch.html & in an essay https://www.lostinthemovies.com/2014/06/its-strange-world-david-lynch.html + in video essay comparing Lynch to Maya Deren https://www.lostinthemovies.com/2016/04/maya-deren-david-lynch-spend-lost.html + these include more Mulholland Drive mentions: https://www.lostinthemovies.com/p/twin-peaks-david-lynch.html MY OTHER WORK ON TWIN PEAKS https://www.lostinthemovies.com/p/twin-peaks.html MY RECENT PODCASTS Lost in the Movies - Marie Antoinette (2006) https://www.lostinthemovies.com/2023/01/marie-antoinette-from-2006-lost-in.html Lost in the Movies on Patreon ($1/month) - Episode 98: Holiday Special / Continuing the 60s... The Apartment (+ capsules on How the Grinch Stole Christmas, Rudolph the Red-Nosed Reindeer, A Charlie Brown Christmas & more) https://www.lostinthemovies.com/2022/12/december-2022-patreon-round-up-lost-in.html FOLLOW MY NEW TWIN PEAKS CHARACTER SERIES (written entries) https://www.lostinthemovies.com/2023/01/introducing-revised-twin-peaks.html This episode's home page on my site https://www.lostinthemovies.com/2023/01/mulholland-drive-as-twin-peaks-cinema.html Browse my other podcasts: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Lost in Twin Peaks https://www.lostinthemovies.com/p/lost-in-twin-peaks.html This podcast is powered by Pinecast.

Today's show is part two of the podcast's third anniversary celebration. Will shares clips from episodes eleven through twenty of The Video Essay Podcast. Topics include: [02:17] - Ariel Avissar on curating the Sight & Sound Poll [03:56] - Liz Greene on sound and the "audiovisual" essay [06:15] - Scout Tafoya on labor and The Unloved [10:02] - Leigh Singer on discovery and audience [11:52] - Shannon Strucci on YouTube thumbnails [14:33] - Adam Woodward on publishing via YouTube [16:56] - Jason Mittell on building community [20:32] - Cydnii Wilde Harris on creating while a student [25:03] - Professor Flowers on talking about race on YouTube [27:17] - Nelson Carvajal on collecting images Be on the lookout for part three and watch part one here. This episode was created as part of Will's preparation for an upcoming talk he is giving at "Theory & Practice of the Video-Essay: An International Conference on Videographic Criticism" later this month at the University of Massachusetts Amherst. Support the podcast on Patreon. Follow the show on Twitter. Learn more at the pod's website. Get the free newsletter. This show is hosted, produced, and edited by Will DiGravio. Emily Su Bin Ko is the show's associate producer. Music via Free Music Archive.

Today's episode features a short conversation with Ariel Avissar, a lecturer, PhD student and Tisch Film School Scholar at Tel Aviv University, and the creator and curator of the ongoing TV Dictionary project. The premise of the project? Try to capture the essence of a TV series with only a single word. The task? Make a short video that pairs the dictionary definition(s) of that work with a clip or clips from a single series. [3:20] - The origins of TV Dictionary [7:48] - Inviting new (and experienced) video essayists to join the project [10:28] - Why so little academic videographic criticism about TV? [14:30] - Who is contributing to the project? [15:29] - What kinds of videos are being made? [18:25] - How have creators responded to the process of making for the project? [20:08] - Collaboration with the Critical Studies in Television blog [more here] [25:13] - How to contribute to TV Dictionary Be sure to check out the ongoing series of blog posts on the CST blog: Post 1 by Ariel; Post 2 by Dan O'Brien; Post 3 by Tomer Nechushtan And also learn more about the upcoming roundtable dedicated to the project at the upcoming CST online slow conference. The roundtable will be held at 3:15 - 4:45 pm BST and feature Libertad Gills, Catherine Grant, Evelyn Kreutzer, Johannes Binotto, Ariel Avissar and Jason Mittell. More here. Support the podcast on Patreon. Follow the show on Twitter. Learn more at the pod's website. Get the free newsletter. This show is hosted, produced, and edited by Will DiGravio. Emily Su Bin Ko is the show's associate producer. Music via Free Music Archive: [here] and [here].

In this episode, JNP talks with Jason Mittell, Professor of Film and Medias Culture at Middlebury College in Vermont. Author of several key manuscripts on television culture, Prof. Mittell is also a key figure in the development of videographic criticism in film and media studies. He and his colleague, Prof. Christian Keathly, have since 2015 offered several two-week intensive workshops on videographic criticism for scholars. Our discussion focused on the history of videographic criticism, its roots in avant garde film and video work, its connection to the digital humanities, as well as current practices and pedagogies. For more on videographic criticism, you can visit the website The Videographic Essay: Practice and Pedagogy (http://videographicessay.org/works/videographic-essay/index). You can also see examples of published videographic criticism at [in]Transition (http://mediacommons.org/intransition/). And check out Jason’s own videographic work on his Vimeo channel. (https://vimeo.com/jmittell) As a special treat, you can watch Jen Proctor’s remake of “A Movie” by Bruce Connors right here. (https://vimeo.com/11531028) And have a listen to The Video Essay Podcast (https://thevideoessay.com/work), hosted by Will DiGravio.

Will is joined by his former teachers and mentors, Jason Mittell and Christian Keathley, who are professors at Middlebury College, two of the co-founders of [in]Transition, co-conveners of the Scholarship in Sound & Image Workshop, and leading practitioners and teachers of the academic video essay. Our conversation centers on their collaborations, the history and practice of the workshop, aka "video camp," and features an in-depth discussion of the videographic exercises that listeners have been making in recent weeks. Listeners are assigned their final (for now) videographic assignment: abstract trailers.

Will is joined by his fellow co-editors of the 2019 Sight & Sound magazine poll of the best video essays of the year, Grace Lee (What's So Great About That?) and Ariel Avissar. They discuss what it was like editing the poll, what changed about the poll this year, how they'd like to see the poll evolve in the future, and how they made their own selections. The second half of the show features commentary from nine contributors to this year's poll: Chloé Galibert-Laîné, Scout Tafoya, Jason Mittell, Philip Brubaker, Andrea Moran (on behalf of FILMADRID), Shannon Strucci, Ian Garwood, Oswald Iten, and Johannes Binotto.

There's real tension between Rose and Bernard in their only flashback episode, but we do get to learn the very sweet backstory to their love story. We also share the final part of our interview with Middlebury College professor Jason Mittell, who talks about Lost's crazy origin story and how the show compares to other modern television classics. Find us on Twitter @TheHatchPodcast, and at Facebook.com/TheHatchPodcast. Leave us your hot take by phone at +1 954-6-DHARMA. Our theme music is by Andy G. Cohen and our cover art is by Danny Roth.  

It all comes crashing down for "Henry Gale" in the final moments of this week's episode, despite his efforts to earn Locke's trust. In flashback, we cringe as a much sadder version of Locke tries to win his father's approval once again. (Helen is not sympathetic.) Our guest is film and media studies professor Jason Mittell, who studied how fans responded to the blast door map and has written extensively about what makes "Lost" so great. Find us on Twitter @TheHatchPodcast, and at Facebook.com/TheHatchPodcast. Leave us your hot take by phone at +1 954-6-DHARMA. Our theme music is by Andy G. Cohen and our cover art is by Danny Roth.

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a... Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are said to be in a golden age of TV. The best stories today are told on television screens in serialized forms. The Wire, Lost, Breaking Bad, The Sopranos are a few of the shows that have elevated the cache of television, introducing riskier forms of storytelling in a medium that has been typically formulaic and convention bound. Fans and critics alike celebrate them for innovation and television networks are filled programming with more and more of them. In Complex TV: The Poetics of Contemporary Television (NYU Press 2015), is film and television scholar Jason Mittell of Middlebury College offers a sustained analysis of the poetics of television narrative, focusing on how storytelling has changed in recent years and how viewers make sense of these innovations. Complex television, Mittell says, is not a genre. It is a storytelling mode and set of associated production and reception practices that span a wide range of programs across an array of genres. Through close analyses of key programs, includingThe Wire, Lost, Veronica Mars, and Mad Mento name a four, the book traces the emergence of this narrative mode, focusing on issues such as viewer comprehension, transmedia storytelling, serial authorship, character change, and cultural evaluation. Developing a television-specific set of narrative theories, Complex TV argues that television is the most vital and important storytelling medium of our time. It is not that the best stories today are on the small screen. Rather, that the most sophisticated, freshest, and the most complex techniques for telling them are. John Balz is Director of Strategy at VML, a full-service marketing agency with offices around the globe. He has spent his career applying behavioral science strategies in the marketing and advertising field through direct mail and email, display and .coms, mobile messaging, e-commerce and social media. You can follow him on Twitter @Nudgeblog and contact him at nudgeblog@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this week’s episode: Deuteronomy 32–34.  We look at how television series wrap things up and consider whether Moshe’s departure from the people proves to be a fitting end to the Torah. And here's the piece by Jason Mittell about The Wire and Lost. And here are the endings for Newhart, St. Elsewhere, Cheers and Six Feet Under.

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

What if there was an instruction manual for television? Not just for the casual consumer, but for college students interested in learning about the culture of television, written by some of the field’s top scholars? In How to Watch Television (New York University Press, 2013), editors Ethan Thompson and Jason Mittell have put together a collection of 40 original essays from some of today’s top scholars on television culture. Each essay focuses on a single television show, and each is an example of how to practice media criticism on an academic level. Thompson, Associate Professor at Texas A&M University-Corpus Christi, and Mittell, professor at Middlebury College, also contributed essays to the collection. As the authors explain: “This book, the essays inside it, and the critical methods the authors employ, all seek to expand the ways you think about television.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Jason Mittell, Middlebury College; Jonathan Gray, Fordham University; Lee Harrington, Miami University