How the Essay Film Thinks

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.

Author: Laura Rascaroli

Publisher: Oxford University Press

ISBN: 9780190238261

Category: Performing Arts

Page: 224

View: 560

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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

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 ...

Author: Rick Warner

Publisher: Northwestern University Press

ISBN: 9780810137394

Category: Performing Arts

Page: 288

View: 613

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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.

Georges Didi Huberman and Film

334–336. 5 Adorno, Theodor (2000), 'The Essay as Form' (1958), tr. Bob
HullotKentor and Frederic Will, in Brian O'Connor (ed.), The Adorno Reader, pp.
91–111, Oxford: Blackwell. 6 Laura Rascaroli's recent book How the Essay Film
Thinks ...

Author: Alison Smith

Publisher: Bloomsbury Publishing

ISBN: 9781350160415

Category: Performing Arts

Page: 184

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Georges Didi-Huberman is a philosopher of images whose work is overdue for attention from English-language readers. Since the publication of his first book in 1982, he has published 46 essays, mostly with the prestigious Editions de Minuit, on topics ranging from monographs on individual artists to critical excursions into political philosophy. He is recognised in France and elsewhere in Europe as one of the foremost philosophers of the image writing today. In Georges Didi-Huberman and Film, Alison Smith concentrates on how Didi-Huberman's work has been informed by cinema, especially in his major (and ongoing) recent work L'Oeil de l'Histoire (The Eye of History). The book traces the development of Didi-Huberman's visual thought towards a cinematic sensibility already inherent in his early work on images in relationship to each other. After exploring his increasingly political understanding of the vital role of cinematic montage, it traces his growing understanding of cinema as a medium for expressing a dynamic representation of peoples' memory and experience, and documents his engagement with contemporary filmmakers such as Laura Waddington and Vincent Dieutre.

Women s Cinema in Contemporary Portugal

Nora M. Alter, 'Translating the Essay into Film and Installation', Journal of Visual
Culture 6, no. 1 (2007), 44. Ibid. ... 37 Laura Rascaroli, How the Essay Film
Thinks (New York: The Essay Film and Rita Azevedo Gomes's Correspondences
185.

Author: Mariana Liz

Publisher: Bloomsbury Publishing USA

ISBN: 9781501349744

Category: Performing Arts

Page: 272

View: 111

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Women's Cinema in Contemporary Portugal brings together scholars from Portugal, UK and the USA, to discuss 14 women film directors in Portugal, focussing on their production in both feature film and documentary genres over the last half-century. It charts the specific cinematic visions that these women have brought to the re-emergence of Portuguese national cinema in the wake of the 1974 Revolution and African decolonisation, and to the growing internationalisation of Portugal's arguably 'minor' or 'small nation' cinema, with significant young women directors such as Leonor Teles achieving prominence abroad. The history of Portuguese women's cinema only begins systematically after the 1974 revolution and democratisation. This collection shows how female auteurs made a specific mark on Portugal's post-revolutionary conceptualisation of a differently 'national' cinema, through the ethnographic output of the late 1970s. It goes on to explore women's decisively gendered interventions in the cinematic memory practices that opened up around the masculine domain of the Colonial Wars in Africa. Feminist political issues such as Portugal's 30-year abortion campaign and LGBT status have become more visible since the 1990s, alongside preoccupations with global concerns relating to immigration, transit and minority status communities. The book also demonstrates how women have made specific contributions to the evolution of soundscapes, the genre of essay cinema, film's relationship to the archive, and the adaptation of the written word. The result is a powerful, provocative and definitive challenge to the marginalisation of Portuguese female-directed film in terms of 'double minority'.

Thinking Images

Written with clarity and perception, this volume offers new insights into the rise of the non-fiction film and the essay film, in particular.

Author: David Montero

Publisher: Peter Lang Pub Incorporated

ISBN: 3034307306

Category: Performing Arts

Page: 191

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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.<BR> The book focuses on the work of three key European film directors associated with the essay film: Chris Marker, Harun Farocki and Jose Luis Guerin. 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

That the watershed years of the essay film are 1940–1945 also reminds us that
failure, crisis, and trauma often become the ... words, is “a form that thinks” (1998,
54–57), or according to Phillip Lopate, the essay film “tracks a person's thoughts.

Author: Timothy Corrigan

Publisher: Oxford University Press

ISBN: 9780199910564

Category: Performing Arts

Page: 256

View: 611

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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 Agn?s 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.

Filmosophy

Film-thinking is thus a cinematic form of behaviour – film is made up of formal
actions, events of movement or time-shifts. ... and objects (think of Eisenstein, or
Godard's essay films, or the more precise expressionism of Hitchcock or
Scorsese).

Author: Daniel Frampton

Publisher: Columbia University Press

ISBN: 9780231850100

Category: Performing Arts

Page: 256

View: 234

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Filmosophy is a provocative new manifesto for a radically philosophical way of understanding cinema. It coalesces twentieth-century ideas of film as thought (from Hugo Münsterberg to Gilles Deleuze) into a practical theory of "film-thinking," arguing that film style conveys poetic ideas through a constant dramatic "intent" about the characters, spaces, and events of film. Discussing contemporary filmmakers such as Béla Tarr and the Dardenne brothers, this timely contribution to the study of film and philosophy will provoke debate among audiences and filmmakers alike. FILMOSOPHY ® is a registered U.S. trademark owned by Valentin Stoilov (www.filmosophy.com) for educational services in the field of motion picture history theory and production. Mr. Stoilov is not the source or origin of this book and has not sponsored or endorsed it or its author.

Writing directing and producing documentary films and videos

We think the best approach to a film of this kind is to follow one individual for six
months, covering the period before, ... My initial feeling, before I had undertaken
any research, was that this should be a people film rather than an essay film, ...

Author: Alan Rosenthal

Publisher: Southern Illinois Univ Pr

ISBN: UOM:39015037424937

Category: Performing Arts

Page: 301

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In this revised edition of a universally acclaimed guide, Rosenthal’s intellectual impetus remains the same: "For me, working in documentary implies a commitment that one wants to change the world for the better. That says it all." Even before important revisions, Donald E. Staples, University of North Texas, said of Rosenthal’s work: "This book should be called the ‘Documentary Filmmaker’s Guide to the Galaxy.’ The moral, ethical, aesthetic, and communicative problems of documentary filmmaking are explored through knowledge and experience in the field, studio, editing room, theater, and television. Every new or established documentary filmmaker should read it." And Henry Breitrose, writing in International Documentary, stated: "The concentration on technique as an end in itself has resulted in altogether too many exquisitely wrought empty vessels. Alan Rosenthal’s new book comes as a corrective. . . . The book is a major contribution to the literature of film teaching and will be immensely useful as a textbook and as a humane, intelligent, and thoughtful refresher course for documentary makers." An internationally renowned documentary filmmaker with more than sixty films to his credit, including the Peabody Award-winning Out of the Ashes, Rosenthal has written the first book to address the realities involved in the making of a documentary. Rather than dealing with theory or hardware, Rosenthal tackles the day-to-day problems from initial concept through distribution. Simply and clearly, Rosenthal explains how to write, direct, and produce the new documentary, whether film or video. He emphasizes the research and writing of the documentary, from approach and structure through interviewing, narration writing, and the complexities of editing. This emphasis makes his book unique. The organization of the book follows the process of making a documentary. Part 1 discusses ideas, research, and script structure; parts 2 and 3 go over preproduction and production; part 4 explores editing and narration writing; and part 5 discusses distinctive forms of documentary, including cinema verite and documentary drama. The concluding chapter offers a perspective on the entire process involved in the making of a documentary.

The Best Australian Essays 2000

She was referring specifically to the debates around Dennis O'Rourke's
documentary-cum-personal-essay film The Good ... a mere pretext or handy,
disguised metaphor for what the critic thinks the movie is really, deeply, often
unconsciously ...

Author: Peter Craven

Publisher:

ISBN: 1863952500

Category: Australian essays

Page: 505

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Literary critic Peter Craven's selection of the best essays published in Australia in 2000. Topics covered include media coverage of the s11 protests, Pauline Hanson and the media, Paul Keating's legacy, John Howard's refusal to apologise, the republic, the death of political parties, the city versus the bush, and the Harry Potter phenomenon. Includes notes on contributors. Contributors include Linda Jaivin, John Birmingham, Don Watson, Clive James, Robert Manne, Ruth Park, David Malouf and Helen Garner. Includes introductory essay by the editor and notes on the contributors. Published annually.

Refractions of Reality Philosophy and the Moving Image

Film thinks , because we philosophers see it thinking . After this self - refuting
paragraph , the essay goes on to fulfil its promise by reading Thin Red Line in
terms of its protagonists ' pious questioning , their calm before death , and so on .

Author: John Mullarkey

Publisher: Palgrave MacMillan

ISBN: UOM:39015078770321

Category: Performing Arts

Page: 282

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Why is film becoming increasingly important to philosophers? Is it because it can be a helpful tool in teaching philosophy, in illustrating it? Or is it because film can also think for itself, because it can create its own philosophy? In fact, a popular claim amongst film philosophers is that film is no mere handmaiden to philosophy, that it does more than simply illustrate philosophical texts: rather, film itself can philosophise in direct audio-visual terms. Approaches that purport to grant to film the possibility of being more than illustrative can be found in the subtractive ontology of Alain Badiou, the Wittgensteinian analyses of Stanley Cavell, and the materialist semiotics of Gilles Deleuze. In each case there is a claim that film can think in its own way. Too often, however, when philosophers claim to find indigenous philosophical value in film, it is only on account of refracting it through their own thought: film philosophizes because it accords with a favored kind of extant philosophy. Refractions of Reality: Philosophy and the Moving Image is the first book to examine all the central issues surrounding the vexed relationship between the film image and philosophy. In it, John Mullarkey tackles the work of particular philosophers and theorists (Zizek, Deleuze, Cavell, Bordwell, Badiou, Branigan, Rancière, Frampton, and many others) as well as general philosophical positions (Analytical and Continental, Cognitivist and Culturalist, Psychoanalytic and Phenomenological). Moreover, he also offers an incisive analysis and explanation of several prominent forms of film theorizing, providing a metalogical account of their mutual advantages and deficiencies that will prove immensely useful to anyone interested in the details of particular theories of film presently circulating, as well as correcting, revising, and revisioning the field of film theory as a whole. Throughout, Mullarkey asks whether the reduction of film to text is unavoidable. In particular: must philosophy (and theory) always transform film into pretexts for illustration? What would it take to imagine how film might itself theorize without reducing it to standard forms of thought and philosophy? Finally, and fundamentally, must we change our definition of philosophy and even of thought itself in order to accommodate the specificities that come with the claim that film can produce philosophical theory? If a ‘non-philosophy’ like film can think philosophically, what does that imply for orthodox theory and philosophy?

Film Heritage

I think , for another example , that Some Like It Hot is one of the best film
comedies and farces ever made . We ' re not ... I ' ve just written a long article for
Horizon – I ' m doing a series for Horizon , one essay a quarter each on a
different film .

Author:

Publisher:

ISBN: UCAL:$B214800

Category: Motion pictures

Page:

View: 388

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Spanish Film Theatre and Literature in the Twentieth Century Essays in Honour of Derek Gagen

So , childlessness is one connection , but not substantial enough , one would
think , to unite the tragic story of religion ... say , by growing old ; the comic tale
reproduces the same crucial dilemma already discussed in Unamuno ' s essay
on the ...

Author: David John George

Publisher:

ISBN: STANFORD:36105123353380

Category: Literary Criticism

Page: 320

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This collection explores a variety of major figures in Spanish culture including Antonio Machado, Rafael Alberti, Federico Garcia Lorca, Miguel de Unamuno and Antonio Buero Vallejo.

Screenplay and Essays on the Film Derrida

How to make , and make sense of , a film about philosophy or about a
philosopher talking ' on ' film ? ... He explores the idea that what we think of as '
great ' , in the context of a great literary or great philosophical work or a great film
, might ...

Author: Kirby Dick

Publisher:

ISBN: UCSC:32106019257697

Category: Philosophy

Page: 141

View: 228

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"What if someone came along who changed not the way you think about everything, but everything about the way you think?" That question is the path that leads us through Kirby Dick and Amy Ziering Kofman's award-winningDerrida. A film "about" the late philosopher and his work is more than a challenge, but Dick and Ziering Kofman's portrait of the philosopher is a remarkable achievement. Witty and affectionate, while repeatedly exploring the nature of cinema, identity, and even of questions themselves, DERRIDA follows Jacques Derrida from his work to his home as the filmmakers search for the "Derrida" that can be captured on film. This beautifully produced oversize volume presents the complete text ofDerrida, along with an extensive interview with Jacques Derrida and introductory essays by the filmmakers and by Nicholas Royle.

Writing Directing and Producing Documentary Films

She also thinks it will help her find a husband . Daisy ' s ... My initial feeling ,
before I had undertaken any research , was that this should be a people film
rather than an essay film , a personal film from both sides of the bars . In my first
outline ...

Author: Alan Rosenthal

Publisher:

ISBN: 0809316366

Category: Documentary films

Page: 246

View: 362

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"For me, working in documentary implies a commitment that one wants to change the world for the better. That says it all."--Alan Rosenthal An international documentary filmmaker with more than 60 films to his credit including the Peabody Award winner "Out of the Ashes," Rosenthal has written the first book to address the realities facing a documentary filmmaker. Rather than dealing with theory or hardware, this book tackles the day-to-day problems of the documentary filmmaker from initial concept through distribution. Rosenthal explains in a down-to-earth manner how to approach, create, write, and direct the "new" documentary He emphasizes the research and writing of documentaries, from approach and structure through interviewing, narration writing, and the complexities of editing. The organization of the book follows the process of making a film. Part 1 discusses ideas, research, and script structure; parts 2 and 3 go over preproduction and production; part 4 explores film editing and narration writing; part 5 discusses distinctive film styles; and the concluding chapter offers a perspective on the entire filmmaking process.

New Society

What these think it is not naughty at all to have no clothes on changes in essay
content indicate is that the meaning I ... our research suggests that the BBC
sultation with the teachers showed no evidence of films are generally successful
in ...

Author:

Publisher:

ISBN: IND:30000093226755

Category: Great Britain

Page:

View: 705

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Films and Filming

Although a statement like ' There is not a single male figure in any Hitchcock
movie that Cary Grant could not have played ' , is really a meaningless one . I
think Pauline Kael summed it up best in her 1975 New Yorker essay on Grant .

Author:

Publisher:

ISBN: UOM:39015067493687

Category: Motion pictures

Page:

View: 192

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Must We Kill the Thing We Love

I said then, and I am saying now: Hitchcock films are designed to teach us how to
think about the way they think. And this, as I now understand, is a feature they
share with Emerson's essays. Hitchcock's films, like Emerson's essays, have ...

Author: William Rothman

Publisher: Columbia University Press

ISBN: 9780231537308

Category: Performing Arts

Page: 352

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William Rothman argues that the driving force of Hitchcock's work was his struggle to reconcile the dark vision of his favorite Oscar Wilde quote, "Each man kills the thing he loves," with the quintessentially American philosophy, articulated in Emerson's writings, that gave classical Hollywood movies of the New Deal era their extraordinary combination of popularity and artistic seriousness. A Hitchcock thriller could be a comedy of remarriage or a melodrama of an unknown woman, both Emersonian genres, except for the murderous villain and godlike author, Hitchcock, who pulls the villain's strings—and ours. Because Hitchcock believed that the camera has a murderous aspect, the question "What if anything justifies killing?," which every Hitchcock film engages, was for him a disturbing question about his own art. Tracing the trajectory of Hitchcock's career, Rothman discerns a progression in the films' meditations on murder and artistic creation. This progression culminates in Marnie (1964), Hitchcock's most controversial film, in which Hitchcock overcame his ambivalence and fully embraced the Emersonian worldview he had always also resisted. Reading key Emerson passages with the degree of attention he accords to Hitchcock sequences, Rothman discovers surprising affinities between Hitchcock's way of thinking cinematically and the philosophical way of thinking Emerson's essays exemplify. He finds that the terms in which Emerson thought about reality, about our "flux of moods," about what it is within us that never changes, about freedom, about America, about reading, about writing, and about thinking are remarkably pertinent to our experience of films and to thinking and writing about them. He also reflects on the implications of this discovery, not only for Hitchcock scholarship but also for film criticism in general.

Shaping the Short Essay

She thinks the process was just perfect ; the crowd thinks otherwise . Thinking
Abead Is this discussion of process intended to teach the reader how to fix a torn
film ? Have you ever carefully followed a process that was not appreciated by ...

Author: Ann M. Taylor

Publisher: Addison-Wesley

ISBN: 0673396789

Category: Language Arts & Disciplines

Page: 466

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An Autobiography of British Cinema

In fact , in relation to this film , she exacting she was , she was also flexible and
recept recognised its importance over - all as a breakthrough ive to changes ... I
really think I have always wanted to explain why I thought this film was It was not ,
of course , only British films that she good . ... The Dilys Powell Film essay in
1948.

Author: Brian McFarlane

Publisher: Methuen Pub Limited

ISBN: UOM:39015047113546

Category: Biography & Autobiography

Page: 656

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An Autobiography of British Cinema tell the story of British film by those who made it.

Best Australian Essays

Meaghan Morris — one critic whom everyone regardless of their alignments
respects — explains why she thinks Adrian Martin is a great film critic and Adrian
Martin explains why he thinks Kubrick's Eyes Wide Shut is a great film. As a critic I
 ...

Author: Peter Craven

Publisher:

ISBN: UOM:39015022882198

Category: Australian essays

Page:

View: 811

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