Acknowledgments Notes on Contributors Introduction: Dialogue, Politics, Utopia, by Elizabeth A. Papazian and Caroline Eades Part I: The Essay Film as Dialogue 1. Essayism and Contemporary Film Narrative, by Timothy Corrigan 2. Essaying the Forms of Popular Cinema: Godard, Farocki and the Principle of Shot/Countershot, by Rick Warner 3. The Practice of Strangeness: L'Intrus, from Jean-Luc Nancy (2000) to Claire Denis (2004), by Martine Beugnet 4. Cinema-verite and Kino-pravda: Rouch, Vertov, and the Essay Form, by Caroline Eades and Elizabeth A. Papazian Part II: The Essay Film as Politics 5. Notes for a Revolution: Pasolini's Postcolonial Essay Films, by Luca Caminati 6. Chris Marker's Description of a Struggle and the Limits of the Essay Film, by Eric Zakim 7. A Woman with a Movie Camera: Chantal Akerman's Essay Films, by Anne Eakin Moss 8. 'What Does It Mean Today to Be a Communist?': Nanni Moretti's Palombella rossa and La cosa as Essay Films, by Mauro Resmini Part III: The Essay Film as Utopia 9. Mohamed Soueid's Cinema of Immanence, by Laura U. Marks 10. Inside/Outside: Nicolasito Guillen Landrian's Subversive Strategy in Coffea Arabiga, by Ernesto Livon-Grosman 11. American Essays in How to Build a Home: Thoreau, Mekas, Proenneke, by Oliver Gaycken 12. 'to speak, to hold, to live by the image': Notes in the Margins of the New Videographic Tendency, by Luka Arsenjuk Afterword: The Idea of Essay Film, by Laura Rascaroli Index
Elizabeth A. Papazian is associate professor of Russian and film studies at the University of Maryland, College Park. She is the author of Manufacturing Truth: The Documentary Moment in Early Soviet Culture (2009). Caroline Eades is associate professor of French and film studies at the University of Maryland, College Park. She is the author of Le Cinema post-colonial francais (2006).
The long-awaited news flash foregrounded by The Essay Film: Dialogue, Politics, Utopia is that cinema studies has at last parted ways with moldy, genre-based epistemologies. The idea of film-thinking as a philosophia sui generis that opposes formalistic classifications has been there from the get-go-in the hearts and minds of groundbreaking film-heretics. Here we are finally offered a thoroughly researched and carefully thought-out contemplation of the primordial desires and wishful prospects of the art of filmmaking, a distinct form of human expression. This book heralds an advanced phase of maturation for cinema studies. Its straightforward willingness to destabilize its own epistemic, aesthetic, and ethical dimensions, generating authentic terms-of-being, perfectly matches the true spiritual and intellectual scope of the essay film as we know it-and, more critically, as we can never truly know its inherently unknowable stratum. The clarity of this book's statement provides a firm foundation for future revelations the essay film holds in store. -- Dan Geva, Haifa University, and documentary filmmaker This exciting collection promises to be an important milestone for ongoing debates and discussions about the emergent medium of interactive and nonlinear documentary. -- Matt Soar, Concordia University
|
Ask a Question About this Product More... |
|
