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The Essay Film THE ESSAY FILM DIALOGUE | POLITICS | UTOPIA EDITED BY ELIZABETH A. PAPAZIAN & CAROLINE EADES The Essay Film Nonfictions is dedicated to expanding and deepening the range of contemporary documentary studies. It aims to engage in the theoretical conversation about documentaries, open new areas of scholarship, and recover lost or marginalised histories. Other titles in the Nonfictions series: Direct Cinema: Observational Documentary and the Politics of the Sixties by Dave Saunders Projecting Migration: Transcultural Documentary Practice edited by Alan Grossman and Áine O’Brien The Image and the Witness: Trauma, Memory and Visual Culture edited by Frances Guerin and Roger Hallas Films of Fact: A History of Science in Documentary Films and Television by Timothy Boon Building Bridges: The Cinema of Jean Rouch edited by Joram ten Brink Vision On: Film, Television and the Arts in Britain by John Wyver Chavez: The Revolution Will Not Be Televised – A Case Study of Politics and the Media by Rod Stoneman Documentary Display: Re-Viewing Nonfiction Film and Video by Keith Beattie The Personal Camera: Subjective Cinema and the Essay Film by Laura Rascaroli Playing to the Camera: Musicians and Musical Performance in Documentary CInema by Thomas Cohen The Cinema of Me: The Self and Subjectivity in First Person Documentary edited by Alisa Lebow Killer Images: Documentary Film, Memory and the Performance of Violence edited by Joram ten Brink and Joshua Oppenheimer Documenting Cityscapes: Urban Change in Contemporary Non-Fiction Film by Iván Villarmea Álvarez Documents of Utopia: The Politics of Experimental Documentary by Paolo Magagnoli The Essay Film DIALOGUE, POLITICS, UTOPIA EDITED BY ELIZABETH A. PAPAZIAN AND CAROLINE EADES WALLFLOWER PRESS LONDON & NEW YORK A Wallflower Press Book Published by Columbia University Press Publishers since 1893 New York Chichester, West Sussex cup.columbia.edu Copyright © 2016 Columbia University Press All rights reserved Wallflower Press® is a registered trademark of Columbia University Press A complete CIP record is available from the Library of Congress ISBN 978-0-231-17694-1 (cloth : alk. paper) ISBN 978-0-231-17695-8 (pbk. : alk. paper) ISBN 978-0-231-85103-9 (e-book) Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Cover image: The Tree of Life (Terrence Malick, 2011) Contents Acknowledgments ..................................... vii Notes on Contributors .................................. viii Introduction Dialogue, Politics, Utopia Elizabeth A. Papazian and Caroline Eades ..................... 1 PART ONE: The Essay Film as Dialogue Chapter 1 Essayism and Contemporary Film Narrative Timothy Corrigan ....................................... 15 Chapter 2 Essaying the Forms of Popular Cinema: Godard, Farocki and the Principle of Shot/Countershot Rick Warner .......................................... 28 Chapter 3 The Practice of Strangeness: L’Intrus, from Jean-Luc Nancy (2000) to Claire Denis (2004) Martine Beugnet ...................................... 68 Chapter 4 Cinéma-vérité and Kino-pravda: Rouch, Vertov and the Essay Form Caroline Eades and Elizabeth A. Papazian .................. 86 PART TWO: The Essay Film as Politics Chapter 5 Notes for a Revolution: Pasolini’s Postcolonial Essay Films Luca Caminati ......................................... 127 Chapter 6 Chris Marker’s Description of a Struggle and the Limits of the Essay Film Eric Zakim ............................................ 145 Chapter 7 A Woman with a Movie Camera: Chantal Akerman’s Essay Films Anne Eakin Moss ...................................... 167 Chapter 8 ‘What Does It Mean Today to Be a Communist?’: Nanni Moretti’s Palombella rossa and La cosa as Essay Films Mauro Resmini ........................................ 192 v PART THREE: The Essay Film as Utopia Chapter 9 Mohamed Soueid’s Cinema of Immanence Laura U. Marks ........................................ 219 Chapter 10 Inside/Outside: Nicolasito Guillén Landrián’s Subversive Strategy in Coffea Arábiga Ernesto Livon-Grosman ................................ 237 Chapter 11 American Essays in How to Build a Home: Thoreau, Mekas, Proenneke Oliver Gaycken ....................................... 256 Chapter 12 ‘to speak, to hold, to live by the image’: Notes in the Margins of the New Videographic Tendency Luka Arsenjuk ........................................ 275 Afterword The Idea of Essay Film Laura Rascaroli ....................................... 300 Index ............................................. 306 Acknowledgments We would like to express our heartfelt thanks to Jason C. Kuo, Professor of Chi- nese Art at the Department of Art History and Archaeology of the University of Maryland, for initiating the dialogue on the topic of the essay film that led to a symposium in April 2014 and the current volume. We owe many thanks to Yoram Allon, Commissioning Editor at Wallflower Press, for his patient and enthusiastic support of this project. Our gratitude also goes to the Graduate School, the College of Arts and Hu- manities, and the School of Languages, Literatures and Cultures at the University of Maryland for their support of this project. We gratefully acknowledge the following publishers and publications: t 'JMN1IJMPTPQIZ journal for granting permission to publish a revision of an article by Martine Beugnet, ‘The Practice of Strangeness’ (2008),'JMN1IJ MPTPQIZ, 12, 1, 31–48; t ɨF.*51SFTTGPSHSBOUJOHVTQFSNJTTJPOUPQVCMJTIBSFWJTFEDIBQUFSGSPN Laura U. Marks, )BOBOBM$JOFNB"ìFDUJPOTGPSUIF.PWJOH*NBHF, a 6000- XPSE FYDFSQU GSPN A.PIBNFE 4PVFJET $JOFNB PG *NNBOFODF ª .BTTBDIVTFUUT*OTUJUVUFPG5FDIOPMPHZ t BOE4POZ"57BOE.VTJD1VCMJTIJOH--$GPSUIFMZSJDTPGɨF#FBUMFT song, 'PPMPOUIF)JMM (John Lennon and Paul McCartney). Finally, we thank our contributors for their insightful and provocative inter- ventions, and all our colleagues from the Film Studies Program at the University of Maryland. vii Notes on Contributors Luka Arsenjuk is Assistant Professor of Film Studies and a core faculty member of the Program in Comparative Literature at the University of Maryland, College Park. He is completing a monograph entitled 'JHVSFTPG%JWJTJPO4FSHFJ&JTFOTUFJO BOEUIF$SJTJTPG$JOFNB. He is co-editor, with Michelle Koerner, of a special issue of 1PMZHSBQI"O*OUFSOBUJPOBM+PVSOBMPG$VMUVSFBOE1PMJUJDT in 2009 and, with Ada Ackerman, 3FBEJOH8JUI&JTFOTUFJO (Caboose Press, forthcoming). Martine BeugnetJT1SPGFTTPSJO7JTVBM4UVEJFTBUUIF6OJWFSTJUZPG1BSJT%JEFS- ot. She is author of 4FYVBMJUÏ NBSHJOBMJUÏ DPOUSÙMFRVFTUJPOTEFSFQSÏTFOUBUJPOEBOT MFDJOÏNBGSBOÎBJTDPOUFNQPSBJO (L’Harmattan, 2000); $MBJSF%FOJT (Manchester University Press, 2004); and $JOFNBBOE4FOTBUJPO'SFODI'JMNBOEUIF"SUPG 5SBOTHSFTTJPO &EJOCVSHI 6OJWFSTJUZ 1SFTT BOE 4IF JT DPBVUIPS with Marion Schmid, of 1SPVTUBUUIF.PWJFT "TIHBUF 4IFDPEJSFDUT with Kriss Ravetto, the Edinburgh University Press series Studies in Film and *OUFSNFEJBMJUZ Luca Caminati is Associate Professor of Film Studies at the Mel Hoppenheim School of Cinema at Concordia University. He is author of 0SJFOUBMJTNPFSFUJDP 1JFS1BPMP1BTPMJOJFJMDJOFNBEFM5FS[P.POEPΉ #SVOP.POEBEPSJ Ή*MDJO FNBDPNFIBQQFOJOH*MQSJNJUJWJTNPQBTPMJOJBOPFMBTDFOBBSUJTUJDBJUBMJBOBEFHMJ BOOJ4FTTBOUB$JOFNBBT)BQQFOJOH1BTPMJOJT1SJNJUJWJTNBOEUIF4JYUJFT*UBMJBO "SU4DFOF (Postmedia, 2010), and 3PCFSUP3PTTFMMJOJEPDVNFOUBSJTUB6OBDVMUVSB EFMMBSFBMUËΉ $4$$BSPDDJ *OIFXBTUIFSFDJQJFOUPGUIF1BVM .FMMPO/BUJPOBM&OEPXNFOUTGPSUIF)VNBOJUJFTA3PNF1SJ[F BXBSEFECZUIF American Academy in Rome. Timothy Corrigan is Professor of English and Cinema Studies at the University of Pennsylvania. He is author of "$JOFNBXJUIPVU8BMMT.PWJFTBOE$VMUVSF BGUFS 7JFUOBN 3PVUMFEHF3VUHFST 6OJWFSTJUZ 1SFTT /FX (FSNBO 'JMN viii DzF%JTQMBDFE*NBHF *OEJBOB6OJWFSTJUZ1SFTT 8SJUJOH BCPVU 'JMN (9th FE 1FBSTPO BOEDzF&TTBZ'JMN'SPN.POUBJHOF "GUFS.BSLFS (Oxford University Press, 2011), winner of the 2012 Katherine Singer Kovács Award for the best book in film and media studies that year. He is co-author, with Patricia White, of DzF'JMN&YQFSJFODF SEFE #FEGPSE4U.BSUJOT FEJUPSPG 'JMNBOE-JUFSBUVSF"O*OUSPEVDUJPOBOE3FBEFS (2nd ed., Routledge, 2012) and "NFSJDBO$JOFNBPGUIFT (Rutgers University Press, 2012); and co-editor, with Patricia White, of $SJUJDBM7JTJPOT3FBEJOHTJO$MBTTJDBOE$POUFNQPSBSZ'JMN DzFPSZ #FEGPSE4U.BSUJOT )FIBTBMTPTFSWFEPOUIFFEJUPSJBMCPBSEPG $JOFNB+PVSOBM, and as an editor of the journal "EBQUBUJPO. Caroline Eades is Associate Professor of French Culture and Cinema, and a core faculty member of the Film Studies Program and the Program in Comparative Literature at the University of Maryland, College Park. She is author of -F$J OÏNBQPTUDPMPOJBMGSBOÎBJT $PMMFDUJPOF"SU &EJUJPOTEV$FSG 4IFBMTP serves as a film editor forDzF'SFODI3FWJFX and is currently completing a book on Greek myths and contemporary cinema. Anne Eakin Moss is Assistant Professor in the Humanities Center at Johns Hopkins University. She is currently completing a monograph entitled 8PNFOT $PNNVOJUZJOUIF3VTTJBO*NBHJOBUJPO3FBMJTN 6UPQJBOJTN .PEFSOJUZ. She is also co-editor of the Comparative Literature issue of .PEFSO -BOHVBHF /PUFT (Johns Hopkins University Press). Oliver Gaycken is Associate Professor of English and a core faculty member of the Film Studies Program and the Program in Comparative Literature at the University of Maryland, College Park. He is author of %FWJDFTPG$VSJPTJUZ&BSMZ $JOFNBBOE1PQVMBS4DJFODF 0YGPSE6OJWFSTJUZ1SFTT )FJTDVSSFOUMZXSJU- ing a book about various incarnations of the moving-image encyclopedia and is DPFEJUJOH
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