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The Essay Film After Fact and Fiction NORA M The Essay Film After Fact and Fiction NORA M. ALTER THE ESSAY FILM AFTER FACT AND FICTION FILM AND CULTURE SERIES FILM AND CULTURE A series of Columbia University Press Edited by John Belton For a full list of titles in this series, see pages 395–97 THE ESSAY FILM AFTER FACT AND FICTION NORA M. ALTER Columbia University Press New York Columbia University Press Publishers Since 1893 New York Chichester, West Sussex cup.columbia.edu Copyright © 2018 Columbia University Press All rights reserved Library of Congress Cataloging-in-Publication Data Names: Alter, Nora M., 1962– author. Title: The essay film after fact and fiction / Nora M. Alter. Description: New York : Columbia University Press, 2017. | Series: Film and culture | Includes bibliographical references. Identifiers: LCCN 2017028033 (print) | LCCN 2017041800 (e-book) | ISBN 9780231178204 (cloth : alk. paper) | ISBN 9780231178211 (pbk. : alk. paper) | ISBN 9780231545983 (e-book) Subjects: LCSH: Experimental films—History and criticism. | Documentary films—History and criticism. Classification: LCC PN1995.9.E96 (e-book) | LCC PN1995.9.E96 A455 2017 (print) | DDC 791.43/611—dc23 LC record available at https://lccn.loc.gov/2017028033 Columbia University Press books are printed on permanent and durable acid-free paper. Printed in the United States of America Cover image: © Smoking Dogs Films ; Courtesy Lisson Gallery Cover design: Lisa Hamm FOR ARIELLE AND ZOË CONTENTS Acknowledgments ix INTRODUCTION1 1. BEGINNINGS31 2. SPEAKING ESSAYS OR INTERRUPTIONS57 3. THE ESSAY FILM AS ARCHIVE AND REPOSITORY OF MEMORIES, 1947–196191 4. THE ESSAY FILM AS THE FOURTH ESTATE143 5. THE ARTIST ESSAY: EXPANDING THE FIELD AND THE TURN TO VIDEO195 6. NEW MIGRATIONS: THIRD CINEMA AND THE ESSAY FILM239 VIIICONTENTS 7. BEYOND THE CINEMATIC SCREEN: INSTALLATIONS AND THE INTERNET289 Notes 323 Bibliography 359 Index 385 ACKNOWLEDGMENTS y explorations of the essay film began two decades ago when few Mpeople knew exactly what I was talking about. From the outset I received support and encouragement from many individuals who in varied ways provided me with invaluable assistance. This included providing access to films, suggesting useful texts to reference, putting me in contact with others in the field, or more generally engaging in conver- sations about the topic. In writing this book, I have traversed continents and participated in events at several institutions. This book would not have been possible without research fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Howard Foundation; this invaluable assistance enabled me to spend critical time abroad carrying out archival research. Invitations to speak and present my ideas and receive feedback came from the Academy of Arts in Vienna, Bryn Mawr College, Carpenter Center, Dartmouth College, Emory University, Free University of Amster- dam, Free University of Berlin, Massachusetts Institute for Technology, Miami University, Migros Museum in Zurich, Neue Berlin Kunstverein, New School, New York University, Northwestern University, San Francisco Art Institute, Slought Foundation, Swarthmore College, Tate Modern, University of Lüneberg, University of Maryland, University of Penn- sylvania, University of Washington, Vanderbilt University, Washington University, Yale University, as well as annual conferences of the American XACKNOWLEDGMENTS Comparative Literature Association, German Studies Association, Modern Language Association, and the Society for Film and Media Studies. Other institutions provided important support for my research. The University of Florida granted me generous research funds, academic leave time, and financial assistance to participate in conferences and sympo- sia. I am grateful to the administrators of the College of Liberal Arts and Sciences for their support. I am most appreciative of the many students at the University of Florida who participated in my seminars, helped me track down elusive sources and texts, and brought new ones to my attention. I am particularly grateful to Franklin Cason, Tracy Cox, Margit Grieb, Brian Mann, Sedika Mojadidi, Thomas Odde, and Alan Wright. The close-knit community at Florida with its reading groups, lecture and film series, and symposia provided a productive, stimulating environ- ment in which to embark on this project. Discussions with my colleagues in Florida also have informed parts of this project, including Roger Beebe, Bill Calin, Susan Hegeman, Eric Kligerman, Kerry Oliver Smith, Scott Nygren, Ana Peterson, Robert Ray, Leah Rosenberg, Maureen Turim, Greg Ulmer, and Phil Wegner. In the final stages of this book, Temple University awarded me a sab- batical and a reduced teaching load for one semester, which allowed me to complete the manuscript. Being in a film production program helped me gain new insights into the formal aspects of the essay film, and I am grateful to the chair of my department, Jeff Rush, for his support as well as to the Dean of the Center for Performing and Cinematic Arts. At the Whitney Independent Study Program, where I have been lead- ing seminars on topics related to the essay film, the critical insights of the seminar participants helped to sharpen my arguments and more clearly delineate my own voice and approach. In particular, conversations with program director Ron Clark have affected both my theoretical approach and my selection of films to treat in this study. In addition to Ron’s acute critical knowledge, I am grateful for his sharp wit, unapologetic politics, and his adherence to Antonio Gramsci’s dictum via Stuart Hall: “pessimism of the intellect, optimism of the will.” Through the Whitney program, Ron has introduced me to thinkers, artists, and filmmakers who have in different ways informed this book. This project has been a long time in the making and has emerged out of many conversations and exchanges with the following individuals, ACKNOWLEDGMENTSXI several of whom read earlier drafts and offered invaluable suggestions: Javier Anguera, Marius Babius, Raymond Bellour, Ginette and Pierre Bil- lard, Dena Blakeman, Christa Blümlinger, Barton Byg, Chris Cagle, Tom Conley, Tim Corrigan, Diedrich Diederichsen, Ed Dimenberg, Antje Ehmann, Maria Eichhorn, Thomas Elsaesser, Jaimey Fisher, Hal Foster, Jean-Michel Frodon, Suzanne Gauch, Gerd Gemuenden, Noah Isenberg, Tom Levin, Tony Kaes, Kathleen Karlyn, Gertrud Koch, Lutz Koepnick, Dick Langston, Aaron Levy, Louis Massiah, Warren Motte, David Pan, Chris Pavsek, Gerald Prince, Julianne Rebentisch, Rick Rentschler, D. N. Rodowick, Jeffrey Skoller, and Thomas Tode. I would also like to thank the following artists and filmmakers who provided me with access to their work and thoughts: John Akomfrah, Ursula Biemann, Hartmut Bitmoski, Dan Eisenberg, Harun Farocki, Jean-Pierre Gorin, Renée Green, Isaac Julien, Chris Marker, Laura Mulvey, The Otolith Group, Ulrike Ottinger, Martha Rosler, Lynne Sachs, Shelly Silver, Hito Steyerl, and Rea Tajiri. A special thanks to John Akomfrah for providing me with the stunning image from Auto Da Fé that graces the cover. I am indebted to the entire Columbia University Press editorial team, including John Belton, Jonathan Fiedler, Philip Leventhal, Miriam Gross- man, and Lisa Hamm. Above all, I want to convey a heartfelt thanks to Jennifer Crewe, whose belief in the project, encouragement, and gen- tle nudging enabled me to finally complete it. The anonymous readers reports were very useful. In particular, I am grateful to Reader 1, who offered extremely helpful comments and suggestions throughout the entire process. I also would like to express my deep gratitude to Caroline Constant who, true to her name, provided me with the unwavering support, encouragement, and fortitude to produce this book. Without her friend- ship and belief in the project, it would not have been completed. The tropes of haunting and ghosts are important in many essay films. This book is also haunted, in this case by figures from the past who were crucial in its development. If I have any regrets it is that I did not write fast enough so that they could have seen the final product. Their voices and thoughts linger in these pages. In particular, I evoke my father, Jean V. Alter, who taught me to read, analyze, and interpret and encouraged my interest in the essay film from the beginning. He watched many films XIIACKNOWLEDGMENTS with me, identified obscure literary or philosophical references, sent me endless clippings from his constant diet of international newspapers, and offered advice regarding structure and form. Finally, thank you to those closest to me, my immediate family, for their patience, understanding, and flexibility and their comprehension of why it was so important for me to write this: Jean V. Alter, Maria P. Alter, Michelle Caroly, Ana Lizon, and Assunta Martin. Thanks in particular to my life partner Alex Alberro, who opened up a whole new world for me and prompted me to think of the essay film beyond the parameters of the field of cinema studies and into the field of art. Our shared interests, travels to international contemporary art exhibitions, and intellectual exchanges have made an indelible mark on this text. Thank you. Finally, an enormous THANK YOU to Arielle and Zoë. You cannot fathom how much your love and faith in my work, despite its seemingly “boring” content, has meant to me. THE ESSAY FILM AFTER FACT AND FICTION FIGURE 0.1 Alexander Kluge, News From Ideological Antiquity, 2008. INTRODUCTION pon entering the dark exhibition
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