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), Nicolas Guillen Landrian
(Coffea Arabiga, 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.
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