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Sometimes, as in varied examples, the experiment of the free-form video essay assignment goes very well. Other times it doesn't. When it does, Denson feels like she learns as much as the student about the mediality of the video essay (as genre, as form, as medium), especially when this is self-reflexively also the theme of the piece, or at least of the experimental effort and process that gave rise to it. Open-ended experimentation has worked well in 'Media and Mediums' and in 'Post-Cinema'. In the latter, they do in fact look at and discuss video essays throughout the course, since both popular and scholarly videographic criticism emerges alongside, and is in some ways inseparable from, the changes in visual forms and the underlying technologies of digital images -- the overt topic of the class.

This book brings together an international group of scholars who chart and analyze the ways in which comic book history and new forms of graphic narrative have negotiated the aesthetic, social, political, economic, and cultural interactions that reach across national borders in an increasingly interconnected and globalizing world. Exploring the tendencies of graphic narratives - from popular comic book serials and graphic novels to manga - to cross national and cultural boundaries,Transnational Perspectives on Graphic Narrativesaddresses a previously marginalized area in comics studies. By placing graphic narratives in the global flow of cultural production and reception, the book investigates controversial representations of transnational politics, examines transnational adaptations of superhero characters, and maps many of the translations and transformations that have come to shape contemporary comics culture on a global scale.

This essay argues that Marvel's Frankenstein comics of the 1960s and 1970s offer a useful case study in the dynamics of serial narration, both as it pertains to comics in particular and to the larger plurimedial domain of popular culture in general. Distinguishing between linear and non-linear forms of narrative seriality—each of which correlates with two distinct types of series-inhabiting characters—I argue that Marvel's staging of the Frankenstein monster mixes the two modes, resulting in a self-reflexive exploration and interrogation of the comics' storytelling techniques. Furthermore, I contend that this process sheds light on the medial dynamics of serial figures—that is, characters such as the monster (but also superheroes like Batman and Superman or other figures like Tarzan and Sherlock Holmes) that are adapted again and again in a wide variety of forms, contexts, and media. Though narrative continuity may be lacking between the repeated stagings of serial figures, non-diegetic traces of previous incarnations accumulate on such characters, allowing them to move between and reflect upon medial forms, never wholly contained in a given diegetic world. Accordingly, Marvel's depiction of the Frankenstein monster leads to a self-reflexive probing of comic books' forms of narrative and visual mediality, ultimately problematizing the very building blocks of comics as a medium—the textual and graphic framings that, together, narrate comics' serialized stories.

The shift from a cinematic to a post-cinematic media regime has occasioned a great deal of anxiety for theorists and spectators alike, and the horror genre has been adept at channeling this unease for its own purposes, as is evidenced in movies that revolve around the proliferation of digital devices and networks as new media for ghosts, demons, and other forms of evil. This article argues that the fears elicited in post-cinematic horror are more deeply rooted in the discorrelation of phenomenal experience and computational microtemporality.

[...]the transparency of evaluative standards to outside parties is a key component of [injTransition's effort to achieve what the journal's \"About\" page refers to as \"disciplinary validation\" for videographic work.1 For without making the process visible to the outside, there is nothing to guarantee that publication decisions are made fairly and according to principles that, although they might not be shared in all particulars by all scholars in the field, at least are capable of receiving consensus from a broad community of scholarly peers. [...]the advantage of the double-blind process is that (anonymous) reviewers are free to express their honest opinions, candidly and without fear of retribution or other negative consequences, while also ensuring that (temporarily anonymized) authors are judged on the basis of their scholarship rather than their past achievements, current standing, popularity, or power. Above all, this experience leads me to affirm the necessity of conceiving the task of \"disciplinary validation\" in terms of collective, though distributed and occasionally conflictive, authorship-video essayists, viewers, and reviewers become the collective authors of a new type of scholarship: a prismatic, multimodal discourse for a multimodal form. ‡ Shane Denson is assistant professor of film and media studies in the Department of Art and Art History at Stanford University.

In February 2019, the U.S. Department of Health and Human Services proposed a strategic initiative to end the human immunodeficiency (HIV) epidemic in the United States by reducing new HIV infections by 90% during 2020-2030* (1). Phase 1 of the Ending the HIV Epidemic initiative focuses on Washington, DC; San Juan, Puerto Rico; and 48 counties where the majority of new diagnoses of HIV infection in 2016 and 2017 were concentrated and on seven states with a disproportionate occurrence of HIV in rural areas relative to other states. One of the four pillars in the initiative is protecting persons at risk for HIV infection using proven, comprehensive prevention approaches and treatments, such as HIV preexposure prophylaxis (PrEP), which is the use of antiretroviral medications that have proven effective at preventing infection among persons at risk for acquiring HIV. In 2014, CDC released clinical PrEP guidelines to health care providers (2) and intensified efforts to raise awareness and increase the use of PrEP among persons at risk for infection, including gay, bisexual, and other men who have sex with men (MSM), a group that accounted for an estimated 68% of new HIV infections in 2016 (3). Data from CDC's National HIV Behavioral Surveillance (NHBS) were collected in 20 U.S. urban areas in 2014 and 2017, covering 26 of the geographic areas included in Phase I of the Ending the HIV Epidemic initiative, and were compared to assess changes in PrEP awareness and use among MSM. From 2014 to 2017, PrEP awareness increased by 50% overall, with >80% of MSM in 17 of the 20 urban areas reporting PrEP awareness in 2017. Among MSM with likely indications for PrEP (e.g., sexual risk behaviors or recent bacterial sexually transmitted infection [STI]), use of PrEP increased by approximately 500% from 6% to 35%, with significant increases observed in all urban areas and in almost all demographic subgroups. Despite this progress, PrEP use among MSM, especially among black and Hispanic MSM, remains low. Continued efforts to improve coverage are needed to reach the goal of 90% reduction in HIV incidence by 2030. In addition to developing new ways of connecting black and Hispanic MSM to health care providers through demonstration projects, CDC has developed resources and tools such as the Prescribe HIV Prevention program to enable health care providers to integrate PrEP into their clinical care. By routinely testing their patients for HIV, assessing HIV-negative patients for risk behaviors, and prescribing PrEP as needed, health care providers can play a critical role in this effort.