How the Essay Film Thinks


Book Description

This book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where and how such strategies operate. Against the backdrop of Adorno's discussion of the essay form's anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Deleuze's understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay film can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.




How the Essay Film Thinks


Book Description

This book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where and how such strategies operate. Against the backdrop of Adorno's discussion of the essay form's anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Deleuze's understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay film can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.




Godard and the Essay Film


Book Description

Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. Warner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard. The essay film has often been understood by scholars as an eccentric development within documentary, but Warner shows how an essayistic process of thinking can materialize just as potently within narrative fiction films, through self-critical investigations into the aesthetic, political, and philosophical resources of the medium. Studying examples by Godard and other directors, such as Orson Welles, Chris Marker, Agnès Varda, and Harun Farocki, Warner elaborates a fresh account of essayistic reflection that turns on the imaginative, constructive role of the viewer. Through fine-grained analyses, this book contributes the most nuanced description yet of the relational interface between viewer and screen in the context of the essay film. Shedding new light on Godard’s work, from the 1960s to the 2010s, in film, television, video, and digital stereoscopy, Warner distills an understanding of essayistic cinema as a shared exercise of critical rumination and perceptual discovery.




Thinking Images


Book Description

The essay film - 'a form that thinks' - serves to create a self-reflexive space for contemporary society by challenging expectations and demanding the creative involvement of the spectator. Using film to provoke thought has never been more important than now, when non-fiction films are gaining in popularity and playing a growing part in debates about culture and politics. This timely publication argues that the appeal of the essay film lies primarily in the dialogic engagement with the spectator and the richness of the intellectual and artistic debate it stimulates. The book focuses on the work of three key European film directors associated with the essay film: Chris Marker, Harun Farocki and José Luis Guerín. It provides a detailed analysis of several films by each director, exploring the relationship between dialogism and essayism in their work and placing this in the wider context of debates on the cinematic essay as a genre. Central aspects of essayistic filmmaking are explored, including its radical approach to knowledge, its distinctive patterns of subjectivity, its challenging of the formal representation of reality, and its contribution to new understandings of spectatorship. Written with clarity and perception, this volume offers new insights into the rise of the non-fiction film and the essay film, in particular.




The Essay Film


Book Description

Why have certain kinds of documentary and non-narrative films emerged as the most interesting, exciting, and provocative movies made in the last twenty years? Ranging from the films of Ross McElwee (Bright Leaves) and Agnès Varda (The Gleaners and I) to those of Abbas Kiarostami (Close Up) and Ari Folman (Waltz with Bashir), such films have intrigued viewers who at the same time have struggled to categorize them. Sometimes described as personal documentaries or diary films, these eclectic works are, rather, best understood as cinematic variations on the essay. So argues Tim Corrigan in this stimulating and necessary new book. Since Michel de Montaigne, essays have been seen as a lively literary category, and yet--despite the work of pioneers like Chris Marker--seldom discussed as a cinematic tradition. The Essay Film, offering a thoughtful account of the long rapport between literature and film as well as novel interpretations and theoretical models, provides the ideas that will change this.




World Cinema and the Essay Film


Book Description

World Cinema and the Essay Film examines the ways in which essay film practices are deployed by non-Western filmmakers in specific local and national contexts, in an interconnected world. The book identifies the essay film as a political and ethical tool to reflect upon and potentially resist the multiple, often contradictory effects of globalization. With case studies of essayistic works by John Akomfrah, Nguyen Trinh Thi and Apichatpong Weerasethakul, amongst many others, and with a photo-essay by Trinh T. Min-ha and a discussion of Frances Calvert's work, it expands current research on the essay film beyond canonical filmmakers and frameworks, and presents transnational perspectives on what is becoming a global film practice.




The Essay Film After Fact and Fiction


Book Description

Nora M. Alter reveals the essay film to be a hybrid genre that fuses the categories of feature, art, and documentary film. Like its literary predecessor, the essay film draws on a variety of forms and approaches; in the process, it fundamentally alters the shape of cinema. The Essay Film After Fact and Fiction locates the genre’s origins in early silent cinema and follows its transformation with the advent of sound, its legitimation in the postwar period, and its multifaceted development at the turn of the millennium. In addition to exploring the broader history of the essay film, Alter addresses the innovative ways contemporary artists such as Martha Rosler, Isaac Julien, Harun Farocki, John Akomfrah, and Hito Steyerl have taken up the essay film in their work.




An Experiment in Criticism


Book Description

C. S. Lewis's classic analysis of the experience of reading.




Following Norberg-Schulz


Book Description

This book examines the 'window' in the life and work of the seminal architectural thinker Christian Norberg-Schulz (1926 – 2000). It draws new attention to his architectural designs and re-examines his acclaimed theoretical work on the phenomenology of architecture and place within the context of a biography of his life, linking him with other historical figures such as Helen Keller and Rainer Maria Rilke, and framing him within the modernist tradition of the latter. Taking a novel, experimental approach, the book also explores the potential of the essay-film as an innovative new approach to producing architectural history. Bridging archival research and artistic exploration, its ten chapters, written by an architectural historian who is also a film-maker, are each accompanied by a short documentary film, hosted online and linked from within the chapter, which use the medium of film to creatively explore and delve deeper into little-known aspects of Norberg-Schulz's theory of genius loci and the phenomenology of architecture. The book questions what it means to 'follow' those who came before, exploring the positionality of the architectural historian/filmmaker. Offering an insightful account of the life, work, and theory of a key thinker, Following Norberg-Schulz is also essential reading for those interested in practice-led research methodologies, particularly in the practice of film-making and the essay film, providing a highly innovative example of scholarly research which bridges the text-film gap.




Long Way Down


Book Description

“An intense snapshot of the chain reaction caused by pulling a trigger.” —Booklist (starred review) “Astonishing.” —Kirkus Reviews (starred review) “A tour de force.” —Publishers Weekly (starred review) A Newbery Honor Book A Coretta Scott King Honor Book A Printz Honor Book A Time Best YA Book of All Time (2021) A Los Angeles Times Book Prize Winner for Young Adult Literature Longlisted for the National Book Award for Young People’s Literature Winner of the Walter Dean Myers Award An Edgar Award Winner for Best Young Adult Fiction Parents’ Choice Gold Award Winner An Entertainment Weekly Best YA Book of 2017 A Vulture Best YA Book of 2017 A Buzzfeed Best YA Book of 2017 An ode to Put the Damn Guns Down, this is New York Times bestselling author Jason Reynolds’s electrifying novel that takes place in sixty potent seconds—the time it takes a kid to decide whether or not he’s going to murder the guy who killed his brother. A cannon. A strap. A piece. A biscuit. A burner. A heater. A chopper. A gat. A hammer A tool for RULE Or, you can call it a gun. That’s what fifteen-year-old Will has shoved in the back waistband of his jeans. See, his brother Shawn was just murdered. And Will knows the rules. No crying. No snitching. Revenge. That’s where Will’s now heading, with that gun shoved in the back waistband of his jeans, the gun that was his brother’s gun. He gets on the elevator, seventh floor, stoked. He knows who he’s after. Or does he? As the elevator stops on the sixth floor, on comes Buck. Buck, Will finds out, is who gave Shawn the gun before Will took the gun. Buck tells Will to check that the gun is even loaded. And that’s when Will sees that one bullet is missing. And the only one who could have fired Shawn’s gun was Shawn. Huh. Will didn’t know that Shawn had ever actually USED his gun. Bigger huh. BUCK IS DEAD. But Buck’s in the elevator? Just as Will’s trying to think this through, the door to the next floor opens. A teenage girl gets on, waves away the smoke from Dead Buck’s cigarette. Will doesn’t know her, but she knew him. Knew. When they were eight. And stray bullets had cut through the playground, and Will had tried to cover her, but she was hit anyway, and so what she wants to know, on that fifth floor elevator stop, is, what if Will, Will with the gun shoved in the back waistband of his jeans, MISSES. And so it goes, the whole long way down, as the elevator stops on each floor, and at each stop someone connected to his brother gets on to give Will a piece to a bigger story than the one he thinks he knows. A story that might never know an END…if Will gets off that elevator. Told in short, fierce staccato narrative verse, Long Way Down is a fast and furious, dazzlingly brilliant look at teenage gun violence, as could only be told by Jason Reynolds.