THE CINEMATIC ESSAY: THE CINE WHAT?

8/10/2019 THE CINEMATIC ESSAY: THE CINE WHAT?

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THE CINEMATIC ESSAY: THE CINE WHAT?(with Filmography & Bibliography)

Note !or a le"t#re by $eter Thompo%(e': *+,)

In the fourth grade, Miss Rich taught us all how to write an Essay. This is whatshe taught us:

No personal experience! irreleant", No personal pronouns! irreleant", #on$t state what you thin%! who cares&", 'tate your pre(ise! Miss Rich had gien it to us", )ather your eidence! this, too, Miss Rich had gien to us", #iscuss aspects of the pre(ise *y ordering the eidence!

Miss Rich had nu(*ered eerything on the *oard the wee% *efore", Ma%e s(ooth transitions! up to us", Re+state what you hae done.

or (any years, I followed the recipe gien to us *y Miss Rich. Then I leaneda*out the Infor(al Essay that had *een *orn fro( the union *etween traelwriting and the Essay. The Infor(al Essay can *e characteri-ed in this way:

Flexibility-+it can change for(s of narratie address on a di(e and spea%directly and ery si(ply to its audience++unli%e a short story author whogenerally creates a character to *e his or her (outhpiece. The essayistcan, in other words, step out of character.

Self-reflexivity-+it can ac%nowledge the presence of the author.

Self-criticality -+it can ac%nowedge, analy-e and critiue its own processesas it writes itself. Its territory can stay s(all or expand to fit the (ind ofthe essayist as it eoles there. /n essay can *e lin%ed with otheressays and other fictions, or non+fictions.

Blurred narrative boundaries-++it can a*sor* or incorporate differentgenres and tones and the(es. It can incorporate *iography,auto*iography, history, culture, poetry, fiction, criticis(, photographs,drawings, and film.

Film?

01/2ITIE' 3 43NTEM53R/R6 4INEM/TI4 E''/6'

The Cinematic Essay 1


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The (arelous, flexi*le ualities of the conte(porary Infor(al Essay hae nowfound their ways into conte(porary fil( in the for( of the 4ine(atic Essay, thenewest fil( genre that incorporates the other three docu(entary, fiction, andexperi(ental", as appropriate.

7ow does the 4ine(atic Essay wor%& 8ell, for exa(ple, what the preiousgeneration of docu(entary fil((a%ers too% as their 9su*ect9++a passie su*ectas co(pared to the 9actie9 fictional su*ect++fil( essayists can now ta%e as their

theme in which the su*ect is a particular deelop(ent or an interpretation ofthat the(e, and one that has a determining influence upon the form of the film.The the(e there*y *eco(es extre(ely actie in that the cine(atic essay is oftena meditation on ideas in conflict and these conflicts actually suggest the formthat the fil( (ight ta%e. ;The cine(atic reolution now in progress is *ased onwhat is essentially a ery si(ple idea: that a su*ect can engender for( and thatto choose a su*ect is to (a%e an aesthetic choice.< Noel =urch, ;Non+ictional'u*ects


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proections into plays and in the =rechtian fil( is the separation of elements.$;The *asic (ethod of the =rechtian fil( is thus to polari-e action, sound,acco(panying (usic and the narratie oice, to *ring the( into conflict. 1nityshould *e discontinuous, contradictory, dialectical


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/lan =erliner, INTIM/TE 'TR/N)ERTony =u**a, 2I)7TNIN) 3ER =R/##34Lean 4octeau, TE'T/MENT 3 3R57E1'

Lonathan #e((e, '8IMMIN) T3 4/M=3#I/ 7arun aroc%i, IM/)E' 3 T7E 83R2# /N# T7E IN'4RI5TI3N 3 8/R,

ABHB, JC (inutes.rederico ellini, R3M/

Morgan isher, /4/#EM6 2E/#ER'u riedrich, T7E TIE' T7/T =IN#

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2ETTER T3 L/NE ABJ?"I4I ET /I22E1R' ABJ"7I'T3IRE'" #1 4INEM/

Lill )od(ilow, /R R3M 532/N# Lean+5ierre )orin, 53T3 /N# 4/=EN)3 ABH?"

R31TINE 52E/'1RE'analyne )reen, / '56 IN T7E 731'E T7/T R1T7 =1I2T ABHB"8erner 7er-og, /T/ M3R)/N/Loris Iens, 'T3R6 3 T7E 8IN#Lon Lost, '5E/IN) #IRE4T26: '3ME /MERI4/N N3TE' ABJO"

1N43MM3N 'EN'E': 52/IN T/2 P 43MM@N 'EN'E ABHH"Isaac Lulian, 233IN) 3R 2/N)'T3N5atric% eiller, 23N#3N

/lexander luge$s short fil(s (ade for T.2ouis Malle, 57/NT3M IN#I/

M6 #INNER 8IT7 /N#RE4hris Mar%er,

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Michael Moore, R3)ER /N# ME=382IN) 3R 4321M=INE ?@@?"/7REN7EIT B>AA ?@@"

Errol Morris, T7E T7IN =21E 2INE /'T, 47E/5 /N# 31T 3 43NTR32T7E 3) 3 8/R

5ier 5aolo 5asolini, N3TE' T38/R# /N /RI4/N 3RE'TE' ABJ@" 6onne Rainer, 5RII2E#)E ABBA"

/lain Resnais, NI)7T /N# 3) Lean Rouch, L/)1/R ABGJ"



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Michael Ru**o, 8/ITIN) 3R I#E2 ABJ"Morgan 'purloc%, '15ER'IQE ME: / I2M 3 E5I4 53RTI3N' ?@@"7ans+Lurgen 'y*er*erg, 31R 7IT2ER: / I2M R3M )ERM/N6idlat Tahi(i%, T7E 5ER1ME# NI)7TM/RE5eter Tho(pson, 1NIER'/2 73TE2 ABHG"

1NIER'/2 4ITIQEN ABHJ" Trihn, Min+ha T., N/E# '5/4E': 2IE I' R31N# ABHC"5eter 8at%ins, E#/R# M1N47

3rson 8elles, 3R /E ABJO" #J?B"I2MIN) ;3T7E223< ABJH"

8i( 8enders, NI4K' I2M: 2I)7TNIN) 3ER 8/TER JGJA"T363 )/

Michael erhoeen, 3 ABJ@"T7E #IT47 ABJA"

S-ME B--4S AN5 ATIC/ES -N THE CINEMATIC ESSAY(e'ie0: *+,)

/lexandre /struc, 9The =irth of the New /ant+)arde: 2a ca(era+stylo9, in T7ENE8 8/E, #ou*leday, N6 678. classic article written in ABH which*egan it all..."

Noel =urch, ;Nonfictional 'u*ects


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7ans+=ernhard Moeller, ;=recht and DEpic$ il( Mediu(: The 4ineaste 5laywrite, il(Theoretician and 7is Influence


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2/N#'4/5E, 4harles 'cri*ner$s 'ons, N6 ABHG.;The Raen@ 5.3. =ox B@B, ar(ingdale, N6

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THE CINEMATIC ESSAY: THE CINE WHAT?

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