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.
{"title":"The essay film as address: The epistle as relational act","authors":"K. Munro","doi":"10.1386/NCIN.15.1.81_1","DOIUrl":"https://doi.org/10.1386/NCIN.15.1.81_1","url":null,"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.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"15 1","pages":"81-95"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.15.1.81_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46002523","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":"Varda’s recycling of life in Les plages d’Agnès: Self-representational metacinema as a discourse on creatorship","authors":"Fátima Chinita","doi":"10.1386/NCIN.15.1.63_1","DOIUrl":"https://doi.org/10.1386/NCIN.15.1.63_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"15 1","pages":"63-79"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44298081","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":"A foreigner in one’s own tongue: Jonas Mekas, minor cinema and the philosophy of autobiographical documentary","authors":"Igor Krstić","doi":"10.1386/NCIN.15.1.97_1","DOIUrl":"https://doi.org/10.1386/NCIN.15.1.97_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"15 1","pages":"97-117"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.15.1.97_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49323178","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":"Staging thought: The essay film and the consciousness of cinema","authors":"R. Cavallini","doi":"10.1386/NCIN.15.1.33_1","DOIUrl":"https://doi.org/10.1386/NCIN.15.1.33_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"15 1","pages":"33-47"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/NCIN.15.1.33_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43576197","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}
This article argues that by framing Manakamana (Spray and Velez, 2013) as a serial portrait, we illuminate the ways that the film situates its Nepalese cable car riders, its American filmmakers and its largely western spectators in an emergent and shared time, and that the sequencing of human subjects that is central to this serial portrait posits an alternative to that once ubiquitous tendency to cast non-western subjects into a time that is past. In 1983’s Time And The Other, Johannes Fabian decried the discursive and ideological effects of denying ethnographic subjects their coevalness, but in Manakamana’s formal experimentation and its strategic deployment of cinematic homologies and spiritual allegories, a reflexivity emerges to reframe the way representations of people can be organized in time.
本文认为，通过将《Manakamana》(Spray and Velez, 2013)作为一幅系列肖像，我们阐明了这部电影将尼泊尔缆车乘客、美国电影制作人和大部分西方观众置于一个新兴的共享时代的方式，而人类主题的排序是这部系列肖像的核心，它为曾经普遍存在的将非西方主题置于过去时代的趋势提供了一种替代方案。在1983年的《时间与他者》(Time And The Other)中，约翰内斯·费边(Johannes Fabian)谴责了否认人种学主题同一性的话语和意识形态影响，但在马纳卡马纳的正式实验和对电影同源性和精神寓言的战略部署中，一种反身性出现了，重新构建了人们在时间中的表现方式。
{"title":"The Serial Portrait and Coeval Time on the Cable Car Up Manakamana Mountain","authors":"Patrick Tarrant","doi":"10.1386/NCIN.15.1.49_1","DOIUrl":"https://doi.org/10.1386/NCIN.15.1.49_1","url":null,"abstract":"This article argues that by framing Manakamana (Spray and Velez, 2013) as a serial portrait, we illuminate the ways that the film situates its Nepalese cable car riders, its American filmmakers and its largely western spectators in an emergent and shared time, and that the sequencing of human subjects that is central to this serial portrait posits an alternative to that once ubiquitous tendency to cast non-western subjects into a time that is past. In 1983’s Time And The Other, Johannes Fabian decried the discursive and ideological effects of denying ethnographic subjects their coevalness, but in Manakamana’s formal experimentation and its strategic deployment of cinematic homologies and spiritual allegories, a reflexivity emerges to reframe the way representations of people can be organized in time.","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"15 1","pages":"49-62"},"PeriodicalIF":0.0,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45486915","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":"The pleasures of muscular bonding in Bring It On and Pitch Perfect","authors":"Samantha Colling","doi":"10.1386/ncin.14.2.143_1","DOIUrl":"https://doi.org/10.1386/ncin.14.2.143_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"58 3 1","pages":"143-150"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66739947","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":"The pleasure of repetition: The Bombay cinema and the South American telenovela","authors":"María Seijo-Richart","doi":"10.1386/ncin.14.2.157_1","DOIUrl":"https://doi.org/10.1386/ncin.14.2.157_1","url":null,"abstract":"","PeriodicalId":38663,"journal":{"name":"New Cinemas","volume":"14 1","pages":"157-164"},"PeriodicalIF":0.0,"publicationDate":"2016-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66740254","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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