欧宝娱乐

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賮蹖賱賲 噩爻鬲丕乇:丕夭 賲賵賳鬲賳蹖 鬲丕 賲丕乇讴乇 賵 亘毓丿

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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.

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First published July 1, 2011

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Timothy Corrigan

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Profile Image for Rafael de Campos.
8 reviews1 follower
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October 2, 2021
Corrigan estabelece - e essa parece ser uma no莽茫o comum 脿 grande maioria dos te贸ricos deste campo - que o filme ensaio seria algo entre o cinema experimental e o document谩rio, mas com um elemento em particular: a presen莽a constante da reflex茫o subjetiva, n茫o apenas como tema ou discurso, mas inclusa de alguma maneira na forma dos filmes. A partir disso, as varia莽玫es dentro do g锚nero ( ensaios de viagem, ensaios retrat铆sticos, di谩rios ensa铆sticos, etc) seriam basicamente varia莽玫es nos modos de operacionalizar essa subjetividade. Outro elemento crucial para a ess锚ncia do filme ensaio seria o encontro, a experi锚ncia p煤blica que permeia o modo como a subjetividade 茅 articulada.

Al茅m de outros autores sobre filme-ensaio e dos pr贸prios cine-ensa铆stas, h谩 tamb茅m um di谩logo muito pertinente com alguns autores de outras 谩reas, especialmente Henri Lefebvre e Michel de Certeau na discuss茫o sobre o espa莽o social em rela莽茫o 脿 subjetividade, e com Paul Virilio a respeito das mudan莽as nas configura莽玫es do olhar a partir da metade do s茅c XX (industrializa莽茫o da vis茫o).

A estrutura do livro intercala o texto te贸rico com ensaios sobre os filmes citados, o que parece uma solu莽茫o bastante apropriada. Um dos principais conceitos abordados ao longo do texto 茅 o do sujeito ensa铆stico, que varia de acordo com cada estilo de filme-ensaio, e a forma do livro estabelece uma esp茅cie de di谩logo entre os dois eus do pr贸prio autor - o Corrigan te贸rico e o Corrigan ensa铆sta. H谩 longos ensaios sobre Bright Leaves, Carta 脿 Sib茅ria, Blue, A Hip贸tese do Quadro Roubado, Close-up, entre outros, e tamb茅m sobre ensaios liter谩rios e fotogr谩ficos, utilizados no in铆cio do livro, como os ensaios de Montaigne e um ensaio fotogr谩fico de Chris Marker.
Profile Image for melancholinary.
412 reviews32 followers
September 21, 2018
In a shameful manner I have to confess that probably 40% of the films mentioned in this book I have yet to see. However, I think essay film is the simpler mode amongst the myriad methods of practicing鈥攁s Deleuze argued鈥攃inematic thinking. It is a form of expressive subjectivity through experiential encounters in a public domain. It is, as Timothy Corrigan writes in this book, a refractive cinema.

Interesting phenomenon that discussed in this book as well is the Kittlerian approach on looking the development of essay film; meaning that essay film is a product of the lightweight technology and its implication to the mode of production. The ubiquitous of video essay we encounter in the platform like YouTube nowadays is byproduct of the merging image-production technology. It all started by Chris Maker and Montaigne to the omnipresence of information inside one YouTube channel.
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