{"title":"‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth","authors":"K. Yu","doi":"10.3366/edinburgh/9781474429245.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0011","url":null,"abstract":"This chapter explores ‘image writing’, an independent nonfiction film practice of experimenting with and ‘writing’ through moving images as an artistic expression and cultural intervention in contemporary mainland China. As a concept similar to caméra-stylo that was advocated by Alexandre Astruc in his influential article ‘The Future of Cinema’ (1948), its motivation and aesthetic features are culturally and socially rooted in Chinese reality. The aesthetic form associated with yingxiang xiezuo can be understood as ‘essayistic’ in the sense that it is influenced by a Chinese literary essay tradition, Chinese language expression and socio-political conditions in China. Kiki Tianqi Yu argues that current criticism and theorisation around the essay film is largely rooted in western film studies; and that features of the essayistic or the ‘screen-writing’ process in cultures with different literary traditions, socio-political contexts and linguistic structures, such as those in China, require different methods of interrogation. The chapter includes a close reading of Chinese Zhao Liang’sBehemoth (2015), foremost his use of parallelism and juxtaposition.","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":"131906503","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}
{"title":"Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv","authors":"Ilana Feldman","doi":"10.3366/edinburgh/9781474429245.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0013","url":null,"abstract":"In her essay Ilana Feldman investigates the relations between the private and the political in the autobiographical work of Israeli-born Brazilian filmmaker David Perlov (1930–2003). Problematizing her position as researcher, she points out that she was also affectively and intellectually deeply implicated in this research. In questioning self-reflexively her supposed neutrality as researcher, she is following, among others, Georges Devereux in De l’angoisse à la méthode (2012) where he argues for a dialectics between the subject and the object of the investigation in a prolonged process ‘of becoming aware’. Applying Marcio Seligmann-Silva’s notion of the ‘testimonial content of culture’ (2003) to her research methodology, Feldman writes that there is no knowledge of the ‘other’ without recognition of the ‘self’. She argues for the significance of her own personal archives and the transformative power they had in the construction of this research.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"70 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":"115663141","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}
{"title":"No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan","authors":"Marco P. Bohr","doi":"10.3366/edinburgh/9781474429245.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474429245.003.0010","url":null,"abstract":"Produced in the immediate aftermath of the tsunami and earthquake that hit Japan on the 11th of March 2011, Toshi Fujiwara’s film No Man’s Zone(Mujin Chitai, 2012) is a portrait of a country coming to terms with the nuclear fallout in Fukushima. Interviews are interlaced with long takes of the post-apocalyptic landscape and subtle observations that point to the suffering and trauma by the people living in, or uprooted from, the area near the Fukushima Daiichi Nuclear Power Plant. The film also questions the role of images of the disaster and indeed the role of the filmmaker creating these very images. Marco Bohr highlights how the philosophical debate about the role of images produced in a disaster zone is primarily facilitated through the aesthetic, formal and structural device of the essay film.Its self-reflexivity is deployed here as a strategy to provoke the viewer in seeing representations of the disaster in a new light.","PeriodicalId":129473,"journal":{"name":"World Cinema and the Essay Film","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121531754","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}