The essay film as address: The epistle as relational act

Q2 Arts and Humanities

New Cinemas Pub Date : 2017-03-01 DOI:10.1386/NCIN.15.1.81_1

K. Munro

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引用次数: 1

Abstract

The epistle has long associations with the essay film not only through the notable filmmakers who have used the form, but also in how it addresses an audience. This tendency reflects the lineage of the development of the Montaignian literary essay from private letter to public audience. In this article I explore the use of the epistolary address, both formally within the text, and as part of the filmmaking process in the construction of a subjectivity that is always relational and contingent. Framed by a number of essayistic works that make use of the epistle - the filmed correspondences of Jose Luis Guerin, Jonas Mekas, Fernando Eimbcke and So Yong Kim (2009-11), Chantal Akerman's News from Home (1977) and Ross McElwee's The Photographic Memory (2012) - this article discusses the process of making my film, Closer Than They Appear (Munro, 2016). I also draw on theories of epistolary transcendence of time and space (Naficy) and collective subjectivity (Braidotti). Through these films I propose the letter film to be a transformative process that shifts the filmmaker's subjectivity towards a more collective and relational position through the act of address.

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以随笔影片为地址，以书信为关系行为

这封信与散文电影有着长期的联系，不仅通过使用过这种形式的著名电影制作人，还通过它如何向观众讲话。这种倾向反映了蒙文学散文从私人书信到公众读者的发展脉络。在这篇文章中，我探讨了书信体称呼的使用，无论是在文本中的形式上，还是作为电影制作过程的一部分，在构建一种始终是关系性和偶然性的主体性时。本文以大量利用书信的散文家作品为框架，讨论了我的电影《比他们出现的更近》（Munro，2016）的制作过程。我还借鉴了书信体超越时空（Naficy）和集体主体性（Braidotti）的理论。通过这些电影，我认为字母电影是一个变革过程，通过称呼行为将电影制作人的主体性转变为一个更集体、更关系的位置。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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New Cinemas Arts and Humanities-Visual Arts and Performing Arts

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