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 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 ...
Written with clarity and perception, this volume offers new insights into the rise of the non-fiction film and the essay film, in particular.
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 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.
The conceptual break is occasionally not so clear; instead of red, an orange screen appears occasionally, such as when Hall recalls how he set up courses in film studies in collaboration with the British Film Institute.
A definitive study of a seminal genre of nonfiction cinema, this book examines the essay films origins, literary precursors, and works by its greatest practitioners, like Chris Marker, Agnes Varda, Errol Morris, Chantal Akerman, Werner ...
An Architectural History through the Essay Film Anna Ulrikke Andersen. 44 Leslie Fiedler, '1: The Discovery of the ... Thinks (New York: Oxford University Press, 2017); Laura Rascaroli, The Personal Camera : Subjective Cinema and the ...
Provides novel answers to some of the seminal questions of cinema: on the nature of the cinematographic experience, on authorship and spectatorship, on the filmic commitment to truth and on the state of subjectivity today." --Book Jacket.
... essay film, see Timothy Corrigan, The Essay Film: From Montaigne to Marker (New York: Oxford University Press, 2011); Laura Rascaroli, How the Essay Film Thinks (New York: Oxford University Press, 2017); Nora M. Alter, The Essay Film ...
... Cinema. London: British Film Institute, 1989. Racaroli, Laura. The Personal Camera: Subjective Cinema and the Essay Film. New York: Wallflower Press, 2009. Racaroli, Laura. How the Essay Film Thinks. Oxford: Oxford University Press ...