[Commlist] New Screenworks Special Issue on Parametric Videographic Scholarship published

We are delighted to announce the publication of Volume 16.2 - 'Laird's 
Constraint': Videographic Montage Analysis Special Issue 
<https://www.screenworks.org.uk/archive/volume-16-2>, dedicated to 
exploring the creative potential of parametric, constraint‑based 
videographic practice. This special issue emerges from the 2024 
Parametric Summer Series, an online workshop that invited participants 
to create videos using structured formal constraints derived from 
existing videographic works. One exercise in particular – “Laird’s 
Constraint,” inspired by Colleen Laird’s analytical deconstruction of 
montage – generated especially rich and surprising results, 
demonstrating how constraint can open new avenues for audiovisual 
scholarship.

This special issue brings together a selection of these works, each 
applying the same basic parameters to different media objects:

  *
    *At All Times
    <https://www.screenworks.org.uk/archive/volume-16-2/at-all-times>* –
    Ariel Avissar reworks the testing-room sequence from /The Parallax
    View/, reorganising it by frequency and pairing it with /The Cabinet
    of Dr. Caligari/ to surface themes of paranoia and historical trauma.
  *
    *Women at Work
    <https://www.screenworks.org.uk/archive/volume-16-2/women-at-work>* –
    Viktoria Paranyuk examines women’s labour through a sequence from
    /Man with a Movie Camera/, juxtaposed with /Sans soleil/ to reflect
    on montage, embodiment, and the politics of looking.
  *
    *Dance With Me
    <https://www.screenworks.org.uk/archive/volume-16-2/dance-with-me>* –
    Lindsay Nelson breaks down a shopping montage from /Mannequin/ and
    sets it against /42nd Street/, drawing playful connections between
    1930s spectacle and 1980s consumer culture.
  *
    *Everybody Dreams
 <https://www.screenworks.org.uk/archive/volume-16-2/everybody-dreams>* –
    Daniel O’Brien analyses the closing montage of /Vanilla Sky/,
    placing it in dialogue with /Dreams That Money Can Buy/ to reveal
    unexpected thematic and visual parallels.
  *
    *Watch for Joy
 <https://www.screenworks.org.uk/archive/volume-16-2/watch-for-joy>*<https://www.screenworks.org.uk/archive/volume-16-2/watch-for-joy>–
    Quan Zhang compares a 1999 Chinese New Year Gala broadcast with
    /Anchors Aweigh/, both engaging with and questioning the
    possibilities and limits of split‑screen cross‑cultural comparison.
  *
    *The Most unCertain Hour
 <https://www.screenworks.org.uk/archive/volume-16-2/the-most-uncertain-hour>* –
    Colleen Laird turns the constraint back on her own practice,
    reworking iterations of the Marvel Studios logo and pairing one with
    /Astro Boy/ to foreground the subjective impulses that shape
    creative analysis.

Together, these videos demonstrate how constraint-based methods can 
activate and extend existing videographic scholarship, generating new 
insights through iterative reuse and creative dialogue.
This special issue has been curated by Guest Editor Ariel Avissar and 
edited by Screenworks' Editor in Chief, Professor Charlotte Crofts.

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