The Department of English at Syracuse University’s College of Arts and Sciences is adopting new methods for media engagement, notably through videographic criticism. This approach uses video, sound, and editing techniques to interpret works, allowing scholars to analyze films and literature by working directly with the media rather than relying only on written analysis.
Will Scheibel, professor and chair of English, highlighted the increasing accessibility and impact of this practice. “Recent advancements in technology and distribution platforms like Vimeo and YouTube have made this kind of scholarship more visible and effective. It blurs the lines between academic and popular film criticism, between essay-filmmaking and film scholarship,” Scheibel says.
Meg Healy, a Ph.D. candidate in English at Syracuse University, is incorporating videographic criticism into her dissertation research on science fiction’s cultural influence since 1950. She noted how the method allowed her to develop new ways to present arguments using audio-visual elements. “I started experimenting with videographic criticism this past spring,” Healy says. “I wanted to move beyond editing exercises and learn how to better convey arguments using sound and image.”
Healy attended Reframing the Argument, an international workshop hosted at the University of Notre Dame that brings together graduate students interested in developing their skills in audiovisual rhetoric, video editing, and scholarly argumentation within videographic criticism. The residency provided training that encouraged participants to use images and sounds as argumentative tools instead of relying mainly on text or voiceover narration.
“Coming from an English literature background, my instinct is to lean into text and clearly explain my choices and analysis in writing,” Healy says. “This workshop encouraged me to move away from more explanatory modes such as voiceover and text on screen to instead use images and sounds in ways that express my arguments.”
The workshop experience prompted Healy to revisit sections of her dissertation—particularly those focused on the “Star Wars” franchise—and uncover overlooked cinematic details through hands-on videographic exercises. “These aspects included thinking through specific editing techniques, such as the use of wipe transitions across the series, as well as considering where the franchise falls in a larger history of science fiction film when placed in conversation with ideologically and aesthetically contrasting films of the same genre,” Healy says.
Collaboration was another key takeaway for Healy during her time at Notre Dame: “Academic research can be solitary,” Healy says. “But this experience showed me how valuable it is to share ideas, get feedback and build community.” Faculty mentors from various institutions supported participants’ experimentation throughout the workshop. “They created a space where experimentation was encouraged, and even so-called failures led to meaningful discoveries,” Healy says.
Looking ahead, Scheibel said Syracuse’s Department of English plans to introduce a dedicated course on videographic criticism during the 2026-27 academic year. The department will also organize a fall workshop featuring Catherine Grant—a leading scholar known for her work with audiovisual essays—to further expand expertise in this field.
Scheibel emphasized that these initiatives are helping redefine approaches to academic research within Syracuse University’s English department.
