World cinema and the essay film : transnational perspectives on a global practice

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Title Pages Brenda Hollweg and Igor Krstic Title Pages (p.i) World Cinema and the Essay Film (p.ii) (p.iii) World Cinema and the Essay Film Title Pages (p.vii) Figures Brenda Hollweg and Igor Krstic (p.vii) Figures (p.vii) Figures (p.ix) Acknowledgements Brenda Hollweg and Igor Krstic (p.ix) Acknowledgements (p.x) Notes on the Contributors Brenda Hollweg and Igor Krstic (p.x) Notes on the Contributors (p.x) Notes on the Contributors (p.x) Notes on the Contributors (p.x) Notes on the Contributors (p.x) Notes on the Contributors Introduction Brenda Hollweg and Igor Krstic Introduction Brenda Hollweg Igor Krstić Abstract and Keywords Introduction Introduction Introduction Introduction (p.6) Times of Crisis: A Polycentric Genealogy of the Essay Film Introduction Introduction Introduction The Book: Critical Interests and Structure Introduction Introduction Introduction Introduction Introduction Introduction Introduction Notes: Introduction The Essay Film and its Global Contexts: Conversations on Forms and Practices Brenda Hollweg and Igor Krstic The Essay Film and its Global Contexts: Conversations on Forms and Practices Laura Rascaroli Nguyen Trinh Thi Bo Wang Susana Barriga Abstract and Keywords The Essay Film and its Global Contexts: Conversations on Forms and Practices Nguyen Trinh Thi The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices Bo Wang The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices Susana Barriga The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices The Essay Film and its Global Contexts: Conversations on Forms and Practices Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Brenda Hollweg and Igor Krstic Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Fernando Canet Abstract and Keywords Introduction Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Filmed Correspondence between Filmmakers: Topics and Strategies Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Refractive Essay Films: The Filmed Correspondence between Guerin and Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Conclusion Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Notes: Essay Films about Film: The ‘Filmed Correspondence’ Between José Luis Guerin and Jonas Mekas Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Brenda Hollweg and Igor Krstic Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Igor Krstić Abstract and Keywords Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Lost, Lost, Lost as Historical Ur-text Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration (p.61) The Poetics and Politics of Accented Essay Films Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Contemporary Examples Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Conclusion Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration Notes: Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Brenda Hollweg and Igor Krstic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cathy Greenhalgh Abstract and Keywords Context and Approach Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic (p.74) Cinematographic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Ethnographic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Conclusion Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic Cottonopolis: Experimenting With the Cinematographic, The Ethnographic and the Essayistic The World Essay Film and the Politics of Traceability Brenda Hollweg and Igor Krstic The World Essay Film and the Politics of Traceability Giorgio Avezzù Giuseppe Fidotta Abstract and Keywords The World Essay Film and the Politics of Traceability Documentary Film and the One World: Terms for a Debate The World Essay Film and the Politics of Traceability The Global Imagery of the World Essay Film The World Essay Film and the Politics of Traceability Networks and Chains, Fruits and Seas The World Essay Film and the Politics of Traceability The World Essay Film and the Politics of Traceability The World Essay Film and the Politics of Traceability Mapping and Representing: The Anxiety of Traceability The World Essay Film and the Politics of Traceability The World Essay Film and the Politics of Traceability Indicability: A Basic Limit of Cinematic Representation The World Essay Film and the Politics of Traceability The World Essay Film and the Politics of Traceability The World Essay Film and the Politics of Traceability The World Essay Film and the Politics of Traceability Notes: The World Essay Film and the Politics of Traceability Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Brenda Hollweg and Igor Krstic Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Christa Blümlinger Abstract and Keywords Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee (p.109) Eulogy of Slowness: Uncle Boonmee Who Can Recall His Past Lives Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Theatre of Memory: The Primitive Project Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Creative Affinities: Warhol, Marker, Resnais Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Acknowledgements Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee Notes: Memory as a Motor of Images: The Essayistic Mode In Apichatpong Weerasethakul’s Variations of Uncle Boonmee ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul Brenda Hollweg and Igor Krstic ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul Tim O’Farrell Abstract and Keywords ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul Narrative as Medley ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul The Indexical Impulse ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul (p.133) What’s in a Name? Memory, Modernity and ‘Innocence’ Unpacked ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul (p.136) Conclusion ‘Time Turning Into Space’: Innocence of Memories’ Prismatic Istanbul Lovers in Time: An Essay Film of Contested Memories Brenda Hollweg and Igor Krstic Lovers in Time: An Essay Film of Contested Memories Thomas Elsaesser Agnieszka Piotrowska Abstract and Keywords ‘Let’s Call the Whole Thing Off’ Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time as Essay Film and Practice Research Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories What Has Been Left Out of the Film Lovers in Time: An Essay Film of Contested Memories Lovers in Time – Post Production Lovers in Time: An Essay Film of Contested Memories Concluding Remarks Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Lovers in Time: An Essay Film of Contested Memories Notes: No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan Brenda Hollweg and Igor Krstic No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan Marco Bohr Abstract and Keywords Introduction No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan Setting the Scene No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan The Presence of the Filmmaker No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan The Journey No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan The Presence and Absence of the State No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan Conclusion No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan Notes: ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth Brenda Hollweg and Igor Krstic ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth Kiki Tianqi Yu Abstract and Keywords Introduction ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image Writing’ and Personal Voice ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth (p.179) Expressing the Impossible through Silence and the Ideographic: Zhao’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth Conclusion ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth Notes: ‘Image-Writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Brenda Hollweg and Igor Krstic Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Peter Kilroy Abstract and Keywords Introduction Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film (p.195) The Archive Effect and World Cinema Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Talking Broken as Essay Film Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film (p.198) The Tourist Gaze (p.199) Conjuring the Archive Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film The Language of Power Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Reframing the Archive Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Conclusion Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Acknowledgements Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Notes: Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Brenda Hollweg and Igor Krstic Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Ilana Feldman Abstract and Keywords Openings: Arrival in Tel Aviv Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv David Perlov’s Windows Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv The Letter ‘Batucada’ (Beating) Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv (p.218) Stones Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv (p.219) Archive Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Anna Crosses Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Afterthoughts: Names Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Notes: Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv Strangely Real: A Reassemblage From the Film Forgetting Vietnam Brenda Hollweg and Igor Krstic Strangely Real: A Reassemblage From the Film Forgetting Vietnam Trinh T. Minh-ha Abstract and Keywords Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam Strangely Real: A Reassemblage From the Film Forgetting Vietnam (p.238) Index Brenda Hollweg and Igor Krstic (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index (p.238) Index