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By Vinzenz Hediger<\/strong><\/p>\n <\/p>\n There is no doubt that the video essay challenges established genres and academic divisions of labour, in the same way that Adorno attributed to the written essay. The question is what exactly we mean when we talk about \u2018criticism\u2019 (Kritik<\/em>) in relation to the new forms of digital criticism. To answer this question, my contribution takes a clue from the notion of criticism developed by the German Romantics. Criticism in the sense of the Romantics, writes Walter Benjamin, \u201cis a kind of experiment performed on the work of art which awakens the art work\u2019s inherent potential for reflection, through which the work acquires a consciousness of itself\u201d. If we define film as a medium of reflection, i.e., as a medium that always already contains its own critique, we can conceive of\u00a0the video essay precisely as the \u201cexperiment performed on the work of art\u201d that Benjamin describes. In order to substantiate this claim, this contribution focuses on what may be described as the material of the essay, the excerpt<\/em>, and asks what exactly an excerpt does.<\/p>\n [FULL PAPER COMING SOON]<\/p>\n Vinzenz Hediger<\/strong> is Professor of Film Studies at Goethe Universit\u00e4t Frankfurt.<\/p>\n","protected":false},"excerpt":{"rendered":" WHAT MAKES AN EXCERPT? The Video Essay as an Experiment Performed on the Work of Art By Vinzenz Continue ReadingVINZENZ HEDIGER<\/span>ABSTRACT<\/strong><\/h4>\n
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