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148 not just to enable one to (re)see and (re)hear the affective qualities of the material but actually to reflect directly upon them, to critique affect by means of affect.” Chiara Grizzaffi’s review highlights the essay’s “formal use of repetition,” which “serves both to draw and outline the connection between the two stars and to evoke the fetishistic pleasure of rewatching and replaying a favorite performance.” The use of affect and repetition was the result of working with the original source material rather than based on a planned strategy. The peer-review process has made this explicit, as well as assuring me that the essay—in all its meta-cheesy-ness—is not a very inferior piece of camp after all. ✽

Star Studies in Transition: Notes on Experimental Videographic Approaches to Film Performance