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World Cinema and the Essay Film最新文献

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Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee 作为意象马达的记忆:阿比察邦·维拉斯哈古《布米叔叔变奏》的散文式模式
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0007
Christa Blümlinger
{"title":"Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee","authors":"Christa Blümlinger","doi":"10.3366/edinburgh/9781474429245.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0007","url":null,"abstract":"Filmmaker-artist of Thai origin Apichatpong Weerasethakul is known for crossing the boundaries between cinema and installation art, documentary film and fiction, and the work of memory, myth and fantasy. Weerasethakul’s variations on the character ‘Boonmee’, including a documentary essay, a series of objects and video installations as well as a feature film, are hybrid and reflective aesthetic works that together form a larger imaginary space based on the interplay of image and word. From this space, as Christa Blümlinger argues, a theatre of memory evolves that originates from one singular historical motif but is developed in various ways through different formal and aesthetic means. The three works are linked together by a central motif, namely that of recurrence. Heterogeneous temporalities, however, challenge and disrupt the configuration of a more continuous cultural and political memory, as well as the viewer’s individual perception.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117190465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Strangely Real: A Reassemblage From the Film Forgetting Vietnam 奇怪的真实:电影《忘记越南》的重新组合
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0014
T. Minh-ha
{"title":"Strangely Real: A Reassemblage From the Film Forgetting Vietnam","authors":"T. Minh-ha","doi":"10.3366/edinburgh/9781474429245.003.0014","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0014","url":null,"abstract":"Photo-essay by Trinh T. Minh-ha. All stills are from her essay film Forgetting Vietnam.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122747468","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration 重音散文电影:移民时代散文电影的政治与诗学
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0004
Igor Krstić
{"title":"Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration","authors":"Igor Krstić","doi":"10.3366/edinburgh/9781474429245.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0004","url":null,"abstract":"Igor Krstić brings together the notion of ‘accented cinema theory’ (Hamid Naficy) with the category of the essay, in order to conceptualise a burgeoning body of film, video, and other moving image practices in what sociologists have termed ‘the age of migration.’ Through this confluence of a supposedly generic category (the essay film) with a theory that has been of great importance to film scholarship since its emergence, Krstić provides new perspectives on an emerging transnational body of films, all of which have been produced by diasporic, exilic or interstitial documentary and/or essay filmmakers in the recent past. In applying Naficy’s terminology, one can describe these examples as ‘accented essay films’, because they all deal with displacement, exile or migration in the essayistic format. His study includes readings of The Nine Muses(Akomfrah, 2009),Grandmother’s Flower(Jeong-Hyun Mun, 2007), Home (Hruza, 2008) and A Hungarian Passport(Kogut, 2001).","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122143359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Lovers in Time: An Essay Film of Contested Memories 恋人在时间:争议记忆的散文电影
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0009
T. Elsaesser, A. Piotrowska
{"title":"Lovers in Time: An Essay Film of Contested Memories","authors":"T. Elsaesser, A. Piotrowska","doi":"10.3366/edinburgh/9781474429245.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0009","url":null,"abstract":"This chapter is in two parts – part one is by Thomas Elsaesser commenting on the unstable form of the essay film and making the case for practice based research to count as an essayistic form, exemplified by Agnieszka Piotrowska’s film Lovers in Time or How We Didn’t Get Arrested in Harare (2015) and her complementary book Black and White: Cinema, Politics and the Arts in Zimbabwe (2016). Part two consists of Piotrowska’s reflections on the making of her film, on the nature of postcolonial trauma in psychoanalytical terms and to what extent it can be worked through or ameliorated by creative collaborations. Piotrowska offers some further ‘behind the scenes’ insights into the experience of making a film in a post-colonial, post-traumatic environment, and the knowledge gained through this experience.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124914091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The Essay Film and its Global Contexts: Conversations on Forms and Practices 散文电影及其全球语境:形式与实践对话
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0002
Laura Rascaroli, Nguyễn Thị, Bo Wang, Susana Barriga
{"title":"The Essay Film and its Global Contexts: Conversations on Forms and Practices","authors":"Laura Rascaroli, Nguyễn Thị, Bo Wang, Susana Barriga","doi":"10.3366/edinburgh/9781474429245.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0002","url":null,"abstract":"Based on interviews she conducted with Cuban filmmaker and theorist Susana Barriga, Hanoi-based filmmaker and moving image artist Nguyen Trinh Thi and New York-based artist and filmmaker Bo Wang, essay film theorist Laura Rascaroli investigates the ways global artists who call their films ‘essays’, or whose work has been labelled as such by art institutions, think of their practice in light of this somewhat ambiguous term. Rascaroli is interested in what these non-Western-born artists have to say about a form that has been conceptualised by heavily drawing on Western thought and according to Enlightenment categories of Self, human subject, world/society and the role of the artist. As these interviews confirm, the essay film emerges as a privileged meeting ground of different impulses and hybrid influences.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130901715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film 澳大利亚原住民与档案效应:弗朗西斯·卡尔弗特的散文电影《破碎的谈话》
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0012
Peter Kilroy
{"title":"Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film","authors":"Peter Kilroy","doi":"10.3366/edinburgh/9781474429245.003.0012","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0012","url":null,"abstract":"This chapter focuses on strategic combinations of some of the ‘building blocks’ of the essay film in the directorial output of Frances Calvert, a non-Indigenous Australian documentary filmmaker, who worked poetically and collaboratively with themes that bear upon Australia’s ‘other’ Indigenous community, Torres Strait Islanders. Despite differences in approach, her films pay heed to Trinh T. Minh-ha’s injunction to ‘speak nearby’ and/or in collaboration with, rather than on behalf of. They make extensive use of historical archival material, and they eschew the merely evidential in their use of such material. Providing a close reading of Calvert’s debut film Talking Broken (1990), Peter Kilroy argues that the use of archival material constitutes a type of citational practice, analogous to the citational practices of the literary essayist, which in turn forms a core performative element of the reflexive process of the essay film.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131334097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
The World Essay Film and the Politics of Traceability 世界散文电影与可追溯性政治
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0006
Giorgio Avezzù, G. Fidotta
{"title":"The World Essay Film and the Politics of Traceability","authors":"Giorgio Avezzù, G. Fidotta","doi":"10.3366/edinburgh/9781474429245.003.0006","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0006","url":null,"abstract":"\u0000 Genèse d’un repas(Moullet, 1979), Ananas(Gitai, 1984) and The Forgotten Space (Burch & Sekula, 2010) constitute three cinematic attempts at representing the global production and distribution networks of commodities. Giorgio Avezzù and Giuseppe Fidotta argue in this chapter that these films, due to their central concern with late capitalism and globalisation, can be labelled ‘World Essay Films’. They question, however, the multi-layered dynamics of global economy and cinema from the standpoint of Cultural Geography and Visual Studies. Although the World Essay Film’s central question pertains to the ways in which the interconnectedness of the world can be made visible, material, spatial, these films also play, as they argue, on the anxieties related to the invisibility of late-capitalist world, whose flows and networks seem to escape conventional representation. This inherent contradiction poses a challenge to realistic aesthetics and the documentary.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123687839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul “时间转化为空间”:记忆的纯真“棱镜伊斯坦布尔”
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0008
Tim O’Farrell
{"title":"‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul","authors":"Tim O’Farrell","doi":"10.3366/edinburgh/9781474429245.003.0008","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0008","url":null,"abstract":"This chapter argues for a complex spatialisation of time and memory in Grant Gee’s essay film Innocence of Memories (2019). Focusing on issues of narrative, the indexical and memory, the author sees Gee’s film functioning in multiple registers, principally as a kind of palimpsest, referring to and writing over Nobel Laureate Orhan Pamuk’s novel The Museum of Innocence (2009) and also referencing in multi-layered and intricate ways the real museum of the same name, located prominently in the centre of Istanbul. Both film and novel, as Tim O’ Farrell shows in an extended reading of the works, straddle a deep love of the past, a desire to preserve and understand it, and a fascination with the inexorability of time, transformation and notions of progress. Fact and fiction are thereby multiply entangled, produced by and supporting the disjunctive practice and interstitiality of the essay film, as the author points out with reference to Laura Rascaroli’s theoretical work How the Essay Film Thinks (2017).","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124806031","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas 关于电影的散文电影:约瑟·路易斯·格林和乔纳斯·梅卡斯之间的“电影通信”
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0003
Fernando Canet
{"title":"Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas","authors":"Fernando Canet","doi":"10.3366/edinburgh/9781474429245.003.0003","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0003","url":null,"abstract":"One of the most enlightening examples of essay films exploring filmmaking is the unique dialogue between José Luis Guerín and Jonas Mekas. Taking part in the larger Todas las cartas. Correspondencias fílmicas project, the two directors exchanged nine video letters from December 2009 to April 2011. In his chapter Fernando Canet embarks on a close analysis of this filmed correspondence. It quickly transpires that both filmmakers are cinephilic and fervent enthusiasts of their trade; they live by and for the cinema, and typically express their personal reflections on cinema in or through their filmmaking practice. Their filmed letters generate ‘ideas’ about film as a reflective and critical response as well as an alternative approach to traditional criticism.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125554331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic 《棉都:电影、人种学和散文学的实验》
World Cinema and the Essay Film Pub Date : 2019-07-01 DOI: 10.3366/edinburgh/9781474429245.003.0005
C. Greenhalgh
{"title":"Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic","authors":"C. Greenhalgh","doi":"10.3366/edinburgh/9781474429245.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0005","url":null,"abstract":"Cathy Greenhalgh considers the making of her essay film Cottonopolis(90’, 2020). The film combines memories of three different yet interconnected ‘Manchesters’, that is historical mega-textile cities Manchester (England), Ahmedabad (Gujarat, India) and Łódź (Poland), with observations of contemporary handloom and power loom cotton manufacture. In her anticipated film Greenhalgh employs documentary techniques, reflexive essay and meditation, sensory and material culture ethnography, as well as oral historiography and experimental visual immersion. She sets out to discuss film production concerns related to questions of the cinematographic, ethnographic and essayistic. Her analysis is underpinned by a practice point-of-view, conversations with Indian film colleagues and various theories of essay, ethnographic and documentary film practice, eco-criticism, world cinema and diaspora aesthetics.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114289320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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