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Author: Rick Warner
Publisher: Northwestern University Press
ISBN: 0810137399
Category : Performing Arts
Languages : en
Pages : 362
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Book Description
Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. Warner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard. The essay film has often been understood by scholars as an eccentric development within documentary, but Warner shows how an essayistic process of thinking can materialize just as potently within narrative fiction films, through self-critical investigations into the aesthetic, political, and philosophical resources of the medium. Studying examples by Godard and other directors, such as Orson Welles, Chris Marker, Agnès Varda, and Harun Farocki, Warner elaborates a fresh account of essayistic reflection that turns on the imaginative, constructive role of the viewer. Through fine-grained analyses, this book contributes the most nuanced description yet of the relational interface between viewer and screen in the context of the essay film. Shedding new light on Godard’s work, from the 1960s to the 2010s, in film, television, video, and digital stereoscopy, Warner distills an understanding of essayistic cinema as a shared exercise of critical rumination and perceptual discovery.
Author: Rick Warner
Publisher: Northwestern University Press
ISBN: 0810137399
Category : Performing Arts
Languages : en
Pages : 362
Get Book Here
Book Description
Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. Warner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard. The essay film has often been understood by scholars as an eccentric development within documentary, but Warner shows how an essayistic process of thinking can materialize just as potently within narrative fiction films, through self-critical investigations into the aesthetic, political, and philosophical resources of the medium. Studying examples by Godard and other directors, such as Orson Welles, Chris Marker, Agnès Varda, and Harun Farocki, Warner elaborates a fresh account of essayistic reflection that turns on the imaginative, constructive role of the viewer. Through fine-grained analyses, this book contributes the most nuanced description yet of the relational interface between viewer and screen in the context of the essay film. Shedding new light on Godard’s work, from the 1960s to the 2010s, in film, television, video, and digital stereoscopy, Warner distills an understanding of essayistic cinema as a shared exercise of critical rumination and perceptual discovery.
Author: Elizabeth Papazian
Publisher: Columbia University Press
ISBN: 0231851030
Category : Performing Arts
Languages : en
Pages : 328
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Book Description
With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema—fiction film, popular cinema, and documentary, video installation, and digital essay. A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolás Guillén Landrián (Coffea Arábiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film—as process, as experience, as experiment—opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis.
Author: Timothy Corrigan
Publisher: Oxford University Press
ISBN: 0199781699
Category : Performing Arts
Languages : en
Pages : 245
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Book Description
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 Agnes 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.
Author: Daniel Morgan
Publisher: Univ of California Press
ISBN: 0520273311
Category : Performing Arts
Languages : en
Pages : 325
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Book Description
“Late Godard and the Possibilities of Cinema is an exhilarating and extremely lucid analysis of the way Godard ‘thinks’ in, of, and through cinema. Drawing on his extensive knowledge of French culture, politics and theory, Morgan skillfully illustrates the complex relations between history, aesthetics, and nature in the director’s later works. Defying criticism of Godard’s alleged retreat from politics, this book provides compelling, detailed, and erudite analyses of his later films and illuminates the auteur’s political and aesthetic response to the so-called ‘death of cinema.’”— Mary Ann Doane, author of The Emergence of Cinematic Time: Modernity, Contingency, the Archive. “Daniel Morgan charts a sensible route into the impenetrable Jean-Luc Godard. Posing clear yet insistent questions, he burrows to the center of both parts of this book’s formidable title, finding in late Godard an aesthetic fusion that generates the light and heat of a trenchant and powerful political critique. Anyone who feels drawn or licensed to write about Godard should read Morgan before setting out.”—Dudley Andrew, author of What Cinema Is! “Daniel Morgan's Late Godard and the Possibilities of Cinema signals a major breakthrough in the international study of the cinema of Jean-Luc Godard. Reconciling the filmmaker's peculiarly Romantic sense of aesthetics —to which the book pays scrupulous, material attention—with the thorny political histories that Godard's cinema has always probed, Morgan gives us new, compelling, synthetic tools with which to understand an artist who is at once the most cryptic and the most sensuous of all living filmmakers.”—Adrian Martin, Monash University, co-editor of lolajournal.com
Author: Satyajit Ray
Publisher: Columbia University Press
ISBN: 0231535473
Category : Art
Languages : en
Pages : 208
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Book Description
Satyajit Ray, one of the greatest auteurs of twentieth century cinema, was a Bengali motion-picture director, writer, and illustrator who set a new standard for Indian cinema with his Apu Trilogy: Pather Panchali (Song of the Little Road) (1955), Aparajito (The Unvanquished) (1956), and Apur Sansar (The World of Apu) (1959). His work was admired for its humanism, versatility, attention to detail, and skilled use of music. He was also widely praised for his critical and intellectual writings, which mirror his filmmaking in their precision and wide-ranging grasp of history, culture, and aesthetics. Spanning forty years of Ray's career, these essays, for the first time collected in one volume, present the filmmaker's reflections on the art and craft of the cinematic medium and include his thoughts on sentimentalism, mass culture, silent films, the influence of the French New Wave, and the experience of being a successful director. Ray speaks on the difficulty of adapting literary works to screen, the nature of the modern film festival, and the phenomenal contributions of Jean-Luc Godard and the Indian actor, director, producer, and singer Uttam Kumar. The collection also features an excerpt from Ray's diaries and reproduces his sketches of famous film personalities, such as Sergei Eisenstein, Charlie Chaplin, and Akira Kurosawa, in addition to film posters, photographs by and of the artist, film stills, and a filmography. Altogether, the volume relays the full extent of Ray's engagement with film and offers extensive access to the thought of one of the twentieth-century's leading Indian intellectuals.
Author: Volker Pantenburg
Publisher: Amsterdam University Press
ISBN: 9048527554
Category : Art
Languages : en
Pages : 292
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Book Description
This book brings together two major filmmakers-French New Wave master Jean-Luc Godard and German avant-gardist Harun Farocki-to explore the fundamental tension between theoretical abstraction and the capacities of film itself, a medium where everything seen onscreen is necessarily concrete. Volker Pantenburg shows how these two filmmakers explored the potential of combined shots and montage to create "film as theory."
Author: Nora M. Alter
Publisher: Columbia University Press
ISBN: 0231545983
Category : Performing Arts
Languages : en
Pages : 602
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Book Description
Nora M. Alter reveals the essay film to be a hybrid genre that fuses the categories of feature, art, and documentary film. Like its literary predecessor, the essay film draws on a variety of forms and approaches; in the process, it fundamentally alters the shape of cinema. The Essay Film After Fact and Fiction locates the genre’s origins in early silent cinema and follows its transformation with the advent of sound, its legitimation in the postwar period, and its multifaceted development at the turn of the millennium. In addition to exploring the broader history of the essay film, Alter addresses the innovative ways contemporary artists such as Martha Rosler, Isaac Julien, Harun Farocki, John Akomfrah, and Hito Steyerl have taken up the essay film in their work.
Author: Jean-Luc Godard
Publisher:
ISBN:
Category : Performing Arts
Languages : en
Pages : 168
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Book Description
Cinema is quite simply a unique book from one of the most influential film-makers in the history of cinema. Here, Jean-Luc Godard looks back on a century of film as well as his own work and career. Born with the twentieth century, cinema became not just the century's dominant art form but its best historian. Godard argues that - after Chaplin and Pol Pot, Monroe and Hitler, Stalin and Mae West, Mao and the Marx Brothers - film and history are inextricably intertwined. Godard presents his thoughts on film theory, cinematic technique, film histories, as well as the recent video revolution. He expounds on his central concerns - how film can "resurrect the past," the role of rhythm in film, and how cinema can be an "art that thinks." Here Godard comes closest to defining a lifetime's obsession with cinema and cinema's lifelong obsession with history. --
Author: Richard Brody
Publisher: Macmillan + ORM
ISBN: 1429924314
Category : Performing Arts
Languages : en
Pages : 721
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Book Description
From New Yorker film critic Richard Brody, Everything Is Cinema: The Working Life of Jean-Luc Godard presents a "serious-minded and meticulously detailed . . . account of the lifelong artistic journey" of one of the most influential filmmakers of our age (The New York Times). When Jean-Luc Godard wed the ideals of filmmaking to the realities of autobiography and current events, he changed the nature of cinema. Unlike any earlier films, Godard's work shifts fluidly from fiction to documentary, from criticism to art. The man himself also projects shifting images—cultural hero, fierce loner, shrewd businessman. Hailed by filmmakers as a—if not the—key influence on cinema, Godard has entered the modern canon, a figure as mysterious as he is indispensable. In Everything Is Cinema, critic Richard Brody has amassed hundreds of interviews to demystify the elusive director and his work. Paying as much attention to Godard's technical inventions as to the political forces of the postwar world, Brody traces an arc from the director's early critical writing, through his popular success with Breathless, to the grand vision of his later years. He vividly depicts Godard's wealthy conservative family, his fluid politics, and his tumultuous dealings with women and fellow New Wave filmmakers. Everything Is Cinema confirms Godard's greatness and shows decisively that his films have left their mark on screens everywhere.
Author: Michael Renov
Publisher: U of Minnesota Press
ISBN: 9780816634415
Category : Performing Arts
Languages : en
Pages : 318
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Book Description
The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educational films, documentarians have pointed the camera outward, drawing as little attention to themselves as possible. In recent decades, however, a new kind of documentary has emerged in which the filmmaker has become the subject of the work. Whether chronicling family history, sexual identity, or a personal or social world, this new generation of nonfiction filmmakers has defiantly embraced autobiography.In The Subject of Documentary, Michael Renov focuses on how documentary filmmaking has become an important means for both examining and constructing selfhood. By looking at key figures in documentary filmmaking as well as noncanonical video art and avant-garde artists, Renov broadens the definition of what counts as documentary, and explores the intersection of the personal and political, considering how memory can create a way into asking troubling questions about identity, oppression, and resiliency.Offering historical context for the explosion of personal nonfiction filmmaking in the 1980s and 1990s, Renov analyzes films in which the subjectivity of the filmmaker is expressly defined in relation to political struggle or historical trauma, from Haskell Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost. And, looking beyond the traditional documentary, Renov contemplates such nontraditional modes of autobiographical practice as the essay film, the video confession, and the personal Web page.Unique in its attention to diverse expressions of personal nonfiction filmmaking, The Subject of Documentary forges a new understanding of the heightened role and function of subjectivity in contemporary documentary practice.Michael Renov is professor of critical studies at the USC School of Cinema-Television. He is the editor of Theorizing Documentary and the coeditor of Resolutions: Contemporary Video Practices (Minnesota, 1996) and Collecting Visible Evidence (Minnesota, 1999).
