02732nam 2200565 a 450 991046087820332120200520144314.01-283-13432-297866131343250-19-978179-6(CKB)2670000000095210(EBL)728707(OCoLC)732067183(SSID)ssj0000522378(PQKBManifestationID)12178409(PQKBTitleCode)TC0000522378(PQKBWorkID)10528506(PQKB)10065204(MiAaPQ)EBC728707(Au-PeEL)EBL728707(CaPaEBR)ebr10477973(CaONFJC)MIL313432(EXLCZ)99267000000009521020110222d2011 uy 0engur|n|---|||||txtccrThe essay film[electronic resource] from Montaigne, after Marker /Timothy CorriganNew York Oxford University Press20111 online resource (244 p.)Description based upon print version of record.0-19-978170-2 0-19-978169-9 Includes bibliographical references and index.Introduction: of film and the essayistic -- Toward the essay film. On thoughts occasioned by Montaigne to Marker -- Of the history of the essay film: from Vertov, to Varda -- Essayistic thinking. About portraying expression: the essay film as inter-view -- To be elsewhere: cinematic excursions as essayistic travel -- On essayistic diaries: or, the velocities of non-place -- Of the currency of events: the essay film as editorial -- About refractive cinema: when films interrogate films.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 stExperimental filmsHistory and criticismElectronic books.Experimental filmsHistory and criticism.791.43/611Corrigan Timothy909545MiAaPQMiAaPQMiAaPQBOOK9910460878203321The essay film2035162UNINA