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In Search of the Centaur: the Essay-Film Author(S): Phillip Lopate Source: the Threepenny Review, No

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In Search of the Centaur: the Essay-Film Author(S): Phillip Lopate Source: the Threepenny Review, No In Search of the Centaur: The Essay-Film Author(s): Phillip Lopate Source: The Threepenny Review, No. 48 (Winter, 1992), pp. 19-22 Published by: Threepenny Review Stable URL: http://www.jstor.org/stable/4384052 Accessed: 17-03-2015 17:20 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Threepenny Review is collaborating with JSTOR to digitize, preserve and extend access to The Threepenny Review. http://www.jstor.org This content downloaded from 193.61.13.36 on Tue, 17 Mar 2015 17:20:48 UTC All use subject to JSTOR Terms and Conditions FILM build into an innate image," I don't of this patient searching for historical even have to see it to know that it's not meaning, in sites now emptied of their my idea of an essay-film. infamous activity. 3) The text must represent the It may sound grotesque to say this, but In Searchof the Centaur:The Essay-Film speaker's attempt to work out some rea- I was more delighted with Cayrol'sheady soned line of discourse on a problem. I use of language than I was depressed by am a little shaky about how to test this the subject matter-which, in any case, Phillip Lopate criterion; but I know when it's not I knew all too well, having grown up in there. For instance, Jonas Mekas' haunt- Jewish Brooklyn.What stuck in my mind ing text in Lost Lost Lost functions like for years was that voiceover phrase: Y INTENTION HERE is to essay is a search to find out what one an incantatory poem, not an essay. "The only sign-but you have to know define, describe, survey and cele- thinks about something. By now it should be clear that I am -is the ceiling scored by fingernails." brate a cinematic genre that barely Whatevertwists and turns occur along using the word "essay-film" as a des- That "but you have to know" (mais il exists. As a cinephile and personal its path, and however deep or moral its cription, not an honorific; there are faut savoir), inserted so cannily in mid- essayist, I have an itch to see these two conclusions are, an essay will have little great cinematic works that do not qual- sentence, thrilled me like an unexpected, interestswed, via essays on celluloid. But, enduring interest unless it also exhibits ify as essay-films, and highly flawed aggressive pinch: its direct address while there are cinematic equivalents a certain sparkle or stylistic flourish. It ones that do. broke the neutral contract of spectator- and to practically every literary genre, is not enough for the essayist to slay the 4) The text must impart more than ship forced me to acknowledge a filmmakers tend to shy away from this bull; it must be done with more finesse information; it must have a strong, per- conversation, with its responsibilities. form, and that in itself is intriguing. than butchery. Freshness, honesty, self- sonal point of view. The standard docu- A similar frisson occurred when, I an What it signals to me is that, in spite of exposure, authority must all be asserted mentary voiceover which tells us, say, some years later, was watching Alexandre Astruc's tempting utopian in turn. An essayist who produces magis- about the annual herring yield is funda- otherwise conventional documentary, term "camera-stylo," the camera is not terial and smoothly ordered arguments mentally journalistic, not essayistic. Nemec's Prague Oratorio, about the a pencil, and it is rather difficult to think but is unable to surprise himself in the Nor is Luis Bufnuel'smischievous Land events of Czechoslovakia in 1968. As the with it in the way an essayist might. process of writing will end up boring Without Bread-which parodies the visuals displayed Russian tanks advanc- Ever since I began looking for models us. An essayist who is vulnerable and faceless, objective documentary per- ing on the crowd, the narrator said of essay-films, the cinema mavens I con- sincere but unable to project any author- spective while refraining from giving us something like (I am paraphrasing from sulted were quick to suggest candidates ity will seem, alas, merely pathetic and Bunuel's own private thoughts about memory): "Usually we do not know that seemed pretty far-fetched. I was fail to keep our attention. So it is a dif- Las Huertes-an essay-film. (For the where to pin the blame for massacres, told, for instance, that Brakhage's ab- ficult game to pull off. Readers must difference, see Bunuel's lovely, literate we invoke large historical forces and so stract film-poems, Jansco's masterly feel included in a true conversation, autobiography, My Last Sigh.) on. This time we do know who gave the :-:- :- tracking shots, Tarkovsky's transcen- allowed to follow the rough mental Finally, 5) the text's language should order to fire. It was Captain dental dramas, even the supposedly processes of contradiction and digres- be as eloquent, well-written and inter- and the camera zoomed in optically on a Soviet man's head. I felt a genre-subversive remake of Little Shop sion, and yet aware of a formal shapeli- esting as possible. This may seem less a army Again of of Horrors, were all "essays" of one ness developing underneath. category than an aesthetic judgment. sort impudent tweak, "Stay awakel" Not that I had idea who this Rus- sort or another. These examples sug- An essay is a continual asking of ques- Still, I include it because you would not any sian officer but I loved the sudden gested a confusion between a reflective, tions-not necessarily finding "solu- expect to find, in a collection of the was, the civilized for self-conscious style and an essayistic tions," but enacting the struggle for year's best essays, a piece written in a way elegy Prague was and we were cata- one. While an essay must reflect or med- truth in full view. Lukacs, in his meaty condescendingly simple, primer dic- Spring ruptured, itate, not all meditative sensibilities are essay "On the Nature and Form of the tion; therefore you should not expect to pulted into that more basic Eastern of tribal scores to essayistic. Take Brakhage: for all the Essay,"wrote: "The essay is a judgment, hear such watered-down language in an European mentality memories and bitter humor. mythic sweat of his writings, or the lyri- but the essential, the value-determining essay-film. That such wonderful writers settle, long human cal satisfaction of his visuals, I'm thing about it is not the verdict (as is the of the Thirties as Hemingway and Dud- That atypically malicious voice on I later as unable to follow a coherent argument case with the system) but the process of ley Nichols should have, in attempting the commentary, identified or know what he actually thinks about, judging." to reach the masses, used so cramped an intrusion of the essayistic. say, the play of light on an ashtray for and patronizing a discourse in their There are essayistic elements or color- forty minutes. So let me propose that, narratives for Joris Ivens' The Spanish ations in certain films by Chris Marker, rather than rushing in anxiously to fill WILL NOW try to define the qualities Earth and The 400 Million, when they Alexander Kluge,Jon Jost, Ralph Arlyck, the void, it might be an important start- that to my mind make an essay-film. could have written genuine essays, Jean-Luc Godard, Jean-Pierre Gorin, ing-point to face squarely the scarcity Bear in mind that I'm no film theorist. seems a sadly missed opportunity. Joris Ivens, Pier Paolo Pasolini, Dusan of essay-films. Starting with my most questionable Those who regard the cinema pri- Makavejev,Jean-Marie Straub, Yvonne What exactly do I mean by an essay- proposition first: 1) an essay-film must marily as a visual medium may object Rainer, Woody Allen, Wim Wenders, film? To answer that, I have to step back have words, in the form of a text either that my five criteria say nothing about Hartmut Bitomsky, Orson Welles, Ross first and convey my sense of the literary spoken, subtitled or intertitled. Say all the treatment of images. This is not McElwee, Robb Moss; in Alain Resnais's essay. To me, the essay is as much a tra- you like about visualization being at the because I mean to depreciate the visual shorts, Fellini's Roma, Michael dition as a form. A fairly discrete tradi- core of thinking, I cannot accept an component of movies, which is what Moore's Roger and Me, Isaac Julian's tion: prefigured by Cicero, Plutarch and utterly pure, silent flow of images as drew me to the medium in the first place, Looking for Langston, Tony Buba's Seneca, it crystallized with Montaigne constituting essayistic discourse. To be but only because I am unconvinced that Lightning Over Braddock, Morgan and Bacon, thrived with the English honest, I've never seen a silent-era the handling of the visuals per se dic- Fisher's Academy Leader, Cocteau's familiar essay of Dr.
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