Pub Date : 2020-07-06DOI: 10.1515/9789048543922-013
T. Elsaesser
The chapter outlines the posthumous constellations that led to the making of Thomas Elsaesser’s essay film The Sun Island, about his grandfather, Martin Elsaesser, chief city architect in Frankfurt during the Weimar Republic. It reflects on the migration of non-theatrical film material into archives and art spaces, encouraging the emergence of found footage as essay film, but it also makes a case for The Sun Island as ‘home movies re-purposed’ in order to highlight the specifics of home movies as a historically and politically important practice. While acknowledging his father as ‘author’, whose images the film ‘appropriates’, The Sun Island also revisits topics associated with Thomas’s own film historical writings: family melodrama; German cinema; media archaeology; history, memory, and trauma.
这一章概述了托马斯·埃尔萨塞尔(Thomas Elsaesser)死后的星座，这些星座导致了他的散文电影《太阳岛》(The Sun Island)的制作，该片讲述了他的祖父马丁·埃尔萨塞尔(Martin Elsaesser)的故事，他是魏玛共和国时期法兰克福的首席城市建筑师。它反映了非剧场电影材料向档案和艺术空间的迁移，鼓励了发现的片段作为散文电影的出现，但它也为太阳岛作为“家庭电影的重新用途”提出了一个案例，以突出家庭电影作为历史和政治上重要实践的具体内容。在承认他的父亲是“作者”的同时，《太阳岛》也重新审视了与托马斯自己的电影历史著作相关的主题:家庭情节剧;德国的电影;媒体考古学;历史，记忆和创伤。
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Pub Date : 2020-07-06DOI: 10.5117/9789463728706_ch09
Richard Misek
Who precisely is the ‘I’ referenced in so many essay films’ voice-overs? It is easy to assume that it refers to the film-maker, but, even if the voice that we hear is the film-maker’s own, an essay film’s narrative ‘voice’ is always ambiguous. Starting from Chris Marker’s contradictory claim in a letter about Sans Soleil (1983) that all he has to offer is himself, the chapter explores how the aspiration of open and direct address is complicated through the various mediations involved in film-making. With particular focus on my own film, Rohmer in Paris (2013), it raises the paradoxical possibility that essay film-makers can only offer themselves, but are prevented by the form of the essay film from doing so.
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{"title":"Lines of Interpretation in Fields of Perception and Remembrance:","authors":"R. Gibson","doi":"10.2307/j.ctv12pntxp.9","DOIUrl":"https://doi.org/10.2307/j.ctv12pntxp.9","url":null,"abstract":"","PeriodicalId":162972,"journal":{"name":"Beyond the Essay Film","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125855145","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}
Pub Date : 2020-07-06DOI: 10.1515/9789048543922-010
J. Vassilieva
In this chapter, I explore the relevance of early Russian montage theory and practice to new issues raised by the shift from the essay film to the audiovisual essay. I investigate how, specifically, Sergei Eisenstein’s vision of the new type of cinema of ideas formulated in his project for filming Marx’s Das Kapital, Dziga Vertov’s foregrounding of subjectivity and reflexivity in The Man with a Movie Camera, and Esphir Shub’s practice of ‘compilation film’ contributed to the emergence of the essay film and continue to stimulate the theory and practice of the audiovisual essayism.
{"title":"8. Montage Reloaded: From Russian Avant-Garde to the Audiovisual Essay","authors":"J. Vassilieva","doi":"10.1515/9789048543922-010","DOIUrl":"https://doi.org/10.1515/9789048543922-010","url":null,"abstract":"In this chapter, I explore the relevance of early Russian montage theory\u0000 and practice to new issues raised by the shift from the essay film to the\u0000 audiovisual essay. I investigate how, specifically, Sergei Eisenstein’s vision of\u0000 the new type of cinema of ideas formulated in his project for filming Marx’s\u0000 Das Kapital, Dziga Vertov’s foregrounding of subjectivity and reflexivity in\u0000 The Man with a Movie Camera, and Esphir Shub’s practice of ‘compilation film’\u0000 contributed to the emergence of the essay film and continue to stimulate\u0000 the theory and practice of the audiovisual essayism.","PeriodicalId":162972,"journal":{"name":"Beyond the Essay Film","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131023953","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":"‘Every love story is a ghost story’:","authors":"Deane Williams","doi":"10.2307/j.ctv12pntxp.8","DOIUrl":"https://doi.org/10.2307/j.ctv12pntxp.8","url":null,"abstract":"","PeriodicalId":162972,"journal":{"name":"Beyond the Essay Film","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121114784","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}
Pub Date : 2014-01-28DOI: 10.1515/9789048543922-012
Catherine A. Grant
This chapter carefully considers the practice of the audio-video essayist, reflecting on the topics of subjectivity, textuality, and technology. Grant is a film scholar who, in the last ten years, has begun to produce, write about, and publish creative-critical digital-video essays on film and media studies subjects, essays that use footage from the films studied, as well as other moving image/sounds from existing media. Her chapter examines the critical and theoretical threads that surround the audiovisual essay as it belongs to the tradition of the essay film and as it belongs to the broader realm of creative practice. She also thinks through some of the spectatorial implications of her online practice as research.
{"title":"10. The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking","authors":"Catherine A. Grant","doi":"10.1515/9789048543922-012","DOIUrl":"https://doi.org/10.1515/9789048543922-012","url":null,"abstract":"This chapter carefully considers the practice of the audio-video essayist,\u0000 reflecting on the topics of subjectivity, textuality, and technology. Grant\u0000 is a film scholar who, in the last ten years, has begun to produce, write\u0000 about, and publish creative-critical digital-video essays on film and media\u0000 studies subjects, essays that use footage from the films studied, as well as\u0000 other moving image/sounds from existing media. Her chapter examines\u0000 the critical and theoretical threads that surround the audiovisual essay\u0000 as it belongs to the tradition of the essay film and as it belongs to the\u0000 broader realm of creative practice. She also thinks through some of the\u0000 spectatorial implications of her online practice as research.","PeriodicalId":162972,"journal":{"name":"Beyond the Essay Film","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132315717","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}
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