Relevant bibliographies by topics / Essay films

Academic literature on the topic 'Essay films'

Author: Grafiati
Published: 7 July 2024

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Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Journal articles on the topic "Essay films":

1

Johnson, Vida T., and Graham Petrie. "Review Essay : Andrei Tarkovskii's films." Journal of European Studies 20, no. 3 (September 1990): 265. http://dx.doi.org/10.1177/004724419002000304.

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Thomas, Marisa. "Classic Media Review Essay." Queer Studies in Media & Popular Culture 4, no. 2 (June 1, 2019): 193–206. http://dx.doi.org/10.1386/qsmpc_00005_5.

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Liu, Qi. "Unfair Utilization in Horrific Films: Objectifying Female Characters in Alfred Hitchcock’s The Birds." BCP Social Sciences & Humanities 20 (October 18, 2022): 109–15. http://dx.doi.org/10.54691/bcpssh.v20i.2170.

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In this essay, it examines the film The Birds and analyzes the scenes necessary to advance the men’s desires in the film's presentation as a result of the director and screenwriter's unfair scripting and arrangement of female characters. These unequal arrangements were thought to satisfy the 1860s male moviegoer's desire for both power and beauty, and to have negative impacted the feminism that was gradually manifesting itself in Hollywood films. Proven by Laura Mulvey' s argument that the portrayal of women in Hollywood films has been maliciously distorted. While this essay will focus on Alfred Hitchcock's horror thrillers--The Birds.
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Frahm, Laura A. "Architectures of Images, Avalanches of Memory: Dominik Graf’s Urban Essay Films." New German Critique 46, no. 3 (November 1, 2019): 181–205. http://dx.doi.org/10.1215/0094033x-7727483.

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Abstract This article sheds light on Dominik Graf’s long-standing and often-overlooked engagement with the essay film since the mid-1990s. The article contends that his urban essays, his cinema and television essays, and his commemorative essays are driven by a reconstructive impetus that takes stock of the state of German cities, German media, and German society from the viewpoint of their “end.” In reading these three variations of his essay films as “architectures of images,” the article presents Graf and his collaborators as “collectors” and “combiners,” who not only (re)construct highly layered works out of archival materials that activate multiple public and personal histories at once but also elicit a larger reflection on the potential of moving images to capture these layered histories in their constant transformation.
5

Ciezadlo, Janina. "The Essay in Space and Time: A Conversation with Filmmaker Mark Cousins." Afterimage 46, no. 1 (March 1, 2019): 17–24. http://dx.doi.org/10.1525/aft.2019.461003.

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Questions in an interview with United Kingdom filmmaker Mark Cousins concern the formal properties and development of nonfiction films taking the shape of essays, rather than documentaries. The relationship between Orson Welles’s films and his lifelong habit of drawing is the subject of Cousin’s latest essay film, The Eyes of Orson Welles. As the interview progresses, the subject shifts to relationships among the arts and the creative process.
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Hunt, Mary Alice. "Selecting Films for Children-A Bibliographic Essay." Collection Management 7, no. 3-4 (December 1985): 255–62. http://dx.doi.org/10.1300/j105v07n03_26.

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Margulies, Ivone. "Filmes de Plástico’s Plural Realism." Film Quarterly 74, no. 2 (2020): 39–46. http://dx.doi.org/10.1525/fq.2020.74.2.39.

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Ivone Margulies examines the output of Filmes de Plástico, a celebrated independent production company from Contagem, Minas Gerais. Her article focuses on two feature films: Temporada (Long Way Home, dir. André Novais Oliveira, 2018), and No Coração do Mundo (In the Heart of the World, dir. Gabriel Martins and Maurilio Martins, 2019.) The essay defines two forms—the portrait and the vista—used to articulate the relationship between individual and a broader social world in the films’ realist aesthetic.
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Karim, Lanja Najmalddin. "Kurdish National Identity in the films of Yilmaz Guney and Bahmani Ghobadi." Journal of University of Human Development 7, no. 3 (August 18, 2021): 69–73. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp69-73.

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this essay explores the conceptualization of Kurdish identity in the works of Kurdish film makers, namely Bahmani Ghobadi and Yikmaz Guney, whose films established a unified Kurdish National Cinema beyond the borders and statelessness in a transnational space. This essay delineates the ways Kurdishness is expressed in the cinematic techniques of the two Kurdish film makers who used similar subtle techniques to incorporate their Kurdish identity into the films they made. The Kurds, as one of the largest stateless ethnic group in the Middle East have suffered violent oppression, state perpetuated discrimination, and exclusion. This essay draws on Hannah Arendt’s The Origins of Totalitarianism, and Philip Rosen’s essay in Theorizing National Cinema to explore how Yalmiz Guney and Bahmani Ghobadi presented the national identity of the characters to mark the films with a sense of Kurdishness. This essay further explores the construction of national identity and personhood specifically in Guney’s Yol and Ghobadi’s Turtles Can Fly to show how stateless people can easily become a subject of dehumanization by different nation states.
9

Wilson, Emma. "4 Months, 3 Weeks and 2 Days: An ““Abortion Movie””??" Film Quarterly 61, no. 4 (2008): 18–23. http://dx.doi.org/10.1525/fq.2008.61.4.18.

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Abstract This essay situates Cristian Mungiu's film, 4 Months, 3 Weeks and 2 Days in relation to a number of films which deal with abortion. However, the argument is made that this film's chief concern is for problems of intimacy and distress pertaining to the central friendship between two women.
10

Jones, Vanessa. "Walking alongside elders: A visual essay." Journal of Applied Arts & Health 14, no. 1 (March 1, 2023): 63–72. http://dx.doi.org/10.1386/jaah_00127_3.

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This visual essay has links with Miller’s El Duende one-canvas process painting by utilizing a different methodology and form with the use of four short films Into the Earth, Medicine Walk, Fireside Creatures and Whispers. The author screened these films in a range of settings to broaden conversation and dialogue about the Wild Elders therapy group’s working process. From these discussions she created this visual essay as a series of photographs and written text. It leads the viewer through key visual elements mapping the journey of individual and group transformation and growth. The essay concludes that by sharing the source material via animated filmmaking, the author has found new ways of extending the therapeutic reach of environmental arts therapy where visual landscapes of interconnection with Nature inspire creative acts of participation as well as personal and collective change. It offers the reader a process whereby they too can walk alongside elders.
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You might also be interested in the extended bibliographies on the topic 'Essay films' for particular source types:
Journal articles Dissertations / Theses Books

Dissertations / Theses on the topic "Essay films":

1

Smith, Caitlin Nicole. "Negotiating Cinematic Truths: Ethnographic and Essay Films as Parallel Forms." Thesis, The University of Arizona, 2014. http://hdl.handle.net/10150/321959.

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Konstantinidou, Eirini. "Mnemophrenia : a science fiction film-essay on the future of cinema and artificial memories." Thesis, Brunel University, 2014. http://bura.brunel.ac.uk/handle/2438/7968.

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“What is more real than the thoughts in your mind?”, “Re/structure your memories, re/construct your reality, re/define yourself”. The foundation of my research is about practising theory instead of theorising practice. My project begins with theory, which then leads to the science fiction film Mnemophrenia that constitutes the practical aspect of it. I attempt to demonstrate how theory and practice can be joined to create a fruitful union, each one feeding the other. In my research, I am inspired by Marshall McLuhan’s idea and use the medium as the message in order to depict and explore how cinema can affect human memory and more specifically create artificial memories and thus contribute to the dissolution of any boundaries between reality and fiction. The key research question that Mnemophrenia explores is: what would happen if in a future postmodern society the Bazinian myth of ‘total’ cinema becomes a reality? If ‘total cinema’ is pure realism and cinema can lead to artificial memories, then artificial memories and pure realism become one and films become artificial memories. Mnemophrenia depicts a different kind of human being or species, a schizophrenic ‘cyborg’ changed from within due to the advancement of virtual reality films which signals the end of cinema as we know it today. Mnemophrenia is about the future of cinema and maintains a horizon of hope that could lead to utopia; it does not discard technology as something evil as many previous science fiction films have done. I am interested in depicting through the film and examining in my thesis the possibility of a society where the dissolution of borders between fiction and reality does not lead to horrific consequences for humanity but instead promotes a potential for a new kind of identity that is an amalgam of real and artificial memories.
3

Williamson, Harry Alexander. "The essay, the time image and the double : a study of the films of Chris Marker." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268596.

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Pourvali, Bamchade. "L'"Essai filmé" comme forme de la modernité cinématographique, 1953-1997." Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0034.

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La modernité cinématographique désigne une remise en cause de la représentation classique au moment de la Seconde Guerre mondiale qui se manifeste par un retour au documentaire. Celui-ci se traduit de deux manières : au sein du cinéma hollywoodien, comme en témoignent la fin du Dictateur de Charlie Chaplin et le début de Citizen Kane d’Orson Welles; et dans l’Europe de l’après-guerre avec le néo-réalisme italien. Dans ce contexte, la critique cinématographique définit l’essai comme une des finalités du cinéma moderne alliant ontologie et langage comme en témoignent les textes d’Alexandre Astruc, André Bazin ou Jacques Rivette. Au milieu des années 1950, le cinéma moderne propose une épure de ces formes cinématographiques avec, d’une part, Nuit et Brouillard d’Alain Resnais, film emblématique de « l’école française du court métrage » et, d’autre part, Voyage en Italie de Roberto Rossellini, affirmation d’un « néo-réalisme plus pur », selon les termes de son auteur. En 1963, deux films français sont à la fois les héritiers du cinéma classique américain et le point de départ d’une réflexion plus approfondie sur l’essai cinématographique, il s’agit de La Jetée de Chris Marker et du Mépris de Jean-Luc Godard. C’est à travers l’étude comparée du parcours de ces deux cinéastes que nous nous proposons de définir l’essai cinématographique comme une forme liée à l’histoire d’un art à un moment particulier. C’est ainsi que l’essai qui connaît ses premières grandes réussites dans les années 1960 se développera dans les années 1990 autour du centenaire du cinéma. De nouveaux enjeux associés à la modernité cinématographique se dessinent alors entre le Nord et le Sud, l’Est et l’Ouest, dans ce passage d’un siècle à l’autre du cinéma
In the field of cinematic studies, modernity refers to the attempts to challenge classical modes of representations at the time of the Second World War, which take the form of a return to the documentary. This process takes two expressions: one runs through Hollywood productions, for instance the opening scene of Chaplin’s Great Dictator and the conclusion of Orson Welles’ Citizen Kane; the other is apparent in post-war Europe with Italian neorealism. In this context, film criticism defines the essay as one of the objects of modern cinema, joining ontology to language, as described in the works of Alexandre Astruc, André Bazin or Jacques Rivette. In the middle of the 1950s, modern cinema offers striking examples of these cinematographic forms with, on the one hand Alain Resnais’ Night and Fog, a film which is typical of “the French school of short films”, and on the other hand Roberto Rossellini’s Journey to Italy, which its author has described as the expression of “a refine form of neorealism”. In 1963, two French films are at once heirs to the tradition of classic American cinema and the start of a deeper reflection on the cinematographic essay, Chris Marker’s The Jetty and Jean-Luc Godard’s Contempt. By comparing the evolution of both these directors we will attempt to define the cinematographic essay as form closely linked to a certain moment in the history of cinema. Thus the essay, after producing its first major works in the 1960s will develop during the 1990s around the time of the hundredth anniversary of cinema. New stakes arise at that time to define cinematographic modernity between North and South, East and West, as cinema enters a new century
5

Kochbati, Hatem. "Projection numérique au cinéma : les nouvelles modalités de consommation des films art et essais (les cinémas Utopia / vidéo en poche)." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAG016/document.

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Ce travail de recherche consiste à analyser et à restituer les principaux faits qui illustrent les changements provoqués par le numérique dans les industries culturelles et les pratiques du cinéma Art et Essai en particulier. A l’ère de la projection numérique, les salles de cinéma vivent une véritable révolution technologique. Cette dernière induit un changement dans les modes de consommation et d’accès à la culture. L’analyse des salles de cinéma Utopia et le concept « vidéo en poche » témoigne d’un nouveau usage des biens culturels à l’ère de l’économie numérique
The present research sets out to study and scrutinise the key facts that illustrate the change in conditions caused by digital cultural industries and practice of the art of cinema and particularly the essay. In the era of digital projection, cinema halls are facing a true technological revolution. The latter induces a change in the consumption patterns and the access to culture The analysis of Utopia cinema halls and the video-in-pocket concept tell us a lot about this postmodern use of cultural artifacts at the age of digital economy
6

Essoukan, epee Hermann. "La Vision poétique du 'Monde' dans les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache." Electronic Thesis or Diss., Université Grenoble Alpes, 2023. http://www.theses.fr/2023GRALL024.

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La présente étude s’intéresse non seulement à l’idée d’un cinéma qui pense et participe à la pensée poétique, c’est-à-dire à l’idée de « la coulée du film qui s’apparenterait à celle de la pensée » pour parler comme Norman McLaren ; elle défend également l’idée d’un cinéma poétique et d’une poétique du cinéma axés sur une esthétique nouvelle de médiation et de création qui explore l’univers poétique. En plus de s’engager dans la définition d’un cinéma de poésie et d’une poétique du cinéma, cette étude entend contribuer à la compréhension de certains mécanismes esthétiques et artistiques qui affectent poétiquement l’attention des percept’acteurs (attention poétique) lorsqu’ils sont face aux effets et aux procédés filmiques qui ne jouent plus sur des effets immersifs et déterminants comme on peut le voir dans les cinémas populaires, de divertissement, de narration, et dans les films documentaires, mais sur des indéterminations perceptives, sur « la promenade esthétique » pour parler comme Jean-Marie Schaeffer et sur la « poétique du désœuvrement ».Les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache, font naviguer les percept’acteurs – néologisme que nous employons à la place de spectateur, puisqu’il ne s’agit plus de spectacle dans ces films – dans une sphère atemporelle et les amènent à l’extérieur du temps, afin de briser la relation qu’ils entretiennent avec les films classiques et de proposer un regard nouveau de l’œuvre. Pour ces cinéastes de la poésie et de la mémoire, il s’agit de façon ambivalente de déraciner et d’ensevelir le mot, de bousculer les conventions et de rompre avec l’accoutumance à travers une vision poétique et « politique » au sens large (politico-historique) du monde, une esthétique nouvelle, un bricolage et braconnage artistique, engendrant une sorte de réinvention du langage.Mots-clés : Films-essais, modernité cinématographique, cinéma de poésie, attention esthétique, attention poétique, percept’acteurs, création artistique
The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation
7

Brink, Joram ten. "The essay film." Thesis, Middlesex University, 1999. http://eprints.mdx.ac.uk/6876/.

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This thesis on the essay film is written from the film maker's point of view, following the production of the film The Man Who Couldn't Feel and Other Tales, (54 min, 16mm). The film and the thesis together form the PhD submission. Examination of the completed film led to the definition of the essay film as an avantgarde, non-fiction film genre. The thesis rejects the current positioning of the essay film as a part of the documentary genre. The essay film creates an aesthetic coherence through the use of image and sound fragments, narrative and nonnarrative structures, 'methodically unmethodically' edited together. The essay film follows Vertov's and Astruc's steps in 'writing' fragments as they occur to the film maker, which are in turn put together using the editing traditions of the film avantgarde and modernist poetry. The film maker's presence in the essay film results in the cinematic 'text' becoming the 'reflective text' - the mediating medium between the film maker and the spectator. Beside its avant-garde roots, the genre owes much to the literary essay tradition established since Michel de Montaigne. Many of the literary essay's aesthetic, thematic and structural elements are to be found in the essay film genre. Each and every essay film is unique in its structure, and the genre as a whole does not conform to a pre-determined cinematic construction. Nevertheless, the thesis charts some useful characteristics and definitions for the establishment of an independent essay film genre.
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Hoydicz, Jennifer. "The narc files /." Full text available online, 2006. http://www.lib.rowan.edu/find/theses.

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Oliveira, João Daniell Ferreira de. "Foi isso que ela disse: ensaísmo e estilo autoral em Jogo de Cena de Eduardo Coutinho." Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8069.

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This research proposes a reflection on the relationship between the documentary and the essay film in the film Jogo de Cena (2007) by Brazilian documentary filmmaker Eduardo Coutinho. It is investigated if there is a tension between the analyzed domains in the analyzed film. From this question I seek to understand how the technical and aesthetic choices that constitute Coutinho's style assume essayistic contours in the research object. In order to answer the research question, I aim to understand how Coutinho 's cinematographic style is characterized and constituted; to understand how Jogo de Cena (2007) plays in the tradition of the documentary and to understand how the essay film was constituted and how it can be identified in the cinema. Methodologically, a proposal for the analysis of documents by Francisco Elinaldo Teixeira was adopted in three moments: 1. Inventory of composition materials; 2. Inventory of compositional modes; 3. Reflection on narrative modes and camera functions. Through the analysis it is indicated how it is possible to recognize essayistic strategies in Jogo de Cena (2007) as: the voice of essay tone, the dialectic of materials, the montage between word and image, the heterogeneity of the composition materials, second reading order. Thus, it is concluded that the film studied even belonging to the documentary domain presents a strong essayistic inflexion.
Este trabalho propõe uma reflexão em torno da relação entre o documentário e o filme-ensaio no filme Jogo de Cena (2007) do documentarista brasileiro Eduardo Coutinho. Investiga-se se no filme analisado existe um tensionamento entre os domínios abordados. A partir desta questão, busca-se compreender como as escolhas técnicas e estéticas que constituem o estilo de Coutinho assumem contornos ensaísticos no objeto de pesquisa. Para responder ao problema da pesquisa temos como objetivo compreender como se caracteriza e se constituiu o estilo cinematográfico de Coutinho; compreender como Jogo de Cena se inscreve na tradição do documentário e entender como se constituiu o filme-ensaio e de que forma identificá-lo no cinema. Metodologicamente adota-se a proposta de análise de documentários de Francisco Elinaldo Teixeira que por sua vez divide-se em três momentos: 1. Inventário dos materiais de composição; 2. Inventário dos modos de composição; 3. Reflexão sobre os modos narrativos e funções da câmera. Por meio da análise realizada indica-se como reconhecer estratégias ensaísticas em Jogo de Cena (2007) tais como: a voz de tom ensaístico, a dialética de materiais, a montagem entre palavra e imagem, a heterogeneidade dos materiais de composição e a leitura de segundo grau. Desse modo, conclui-se que o filme estudado mesmo pertencendo ao domínio do documentário apresenta forte inflexão ensaística.
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Mourão, Catarina. "The Wolf's Lair : dreams and fragmented memories in a first-person essay film." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25710.

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This PhD by practice is an attempt to understand personal archives through filmmaking, and the kind of knowledge we can extract from them as well as how we can connect them to a wider social and political context. These questions are the core of my research and are explored in their different ways through both the film/practice and dissertation. I have chosen to make a film about my absent grandfather and his lost relationship with my mother during Fascist Portugal between the 1940s and the 1960s. Family archives have been largely used in films as a way of documenting realities, in the same way as any other public archival footage. In this instance, I tried to explore family and official archives acknowledging their contradictions and omissions with a view to finding a new “way of knowing” that is more closely connected to our emotions. I believe we all own a family archive regardless of its form. I named this archive “the subjective archive” and in it, I include physical archives such as paper documents, photographs and films, as well as a more intangible archive, which includes our memories, the stories we tell and listen to (oral history) and our dreams. The progression of the film is closely related to my journey as I become immersed in the story and learn things through many layers of archive documents. As a conclusion, I argue that these invisible elements of the subjective archive contain truth independent of their indexical nature, whereas physical documents can mislead us.
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Books on the topic "Essay films":

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Grizzaffi, Chiara. I film attraverso i film: Dal testo "introvabile" ai video essay. Milano: Mimesis, 2017.

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Corrigan, Timothy. The essay film: From Montaigne, after Marker. New York: Oxford University Press, 2011.

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Toufic, Jalal. Vampires: An uneasy essay on the undead in films. Sausalito, Calif: Post-Apollo Press, 2003.

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Toufic, Jalal. Vampires, an uneasy essay on the undead in film. Barrytown, N.Y: Station Hill, 1993.

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Toufic, Jalal. Vampires, an uneasy essay on the undead in film. Sausalito, Calif: Post-Apollo Press, 2003.

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Montero, David. Thinking images: The essay film as a dialogic form in European cinema. Oxford: Peter Lang, 2012.

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Ono, Shuntarō. Shin Gojira ron: Shodai Gojira kara "Shin Gojira" e = New essay on Gojira : Godzilla to Godzilla, resurgence. Tōkyō: Sairyūsha, 2017.

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Alan, Cholodenko, and Australian Film Commission, eds. The Illusion of life: Essays on animation. Sydney: Power Publications in association with the Australian Film Commission, 1991.

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Vaughan, Dai. For documentary: Twelve essays. Berkeley: University of California Press, 1999.

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Dixon, Wheeler W. Film genre 2000: New critical essays. Albany: State University of New York Press, 2000.

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Book chapters on the topic "Essay films":

1

Ran, Ma. "Toward Archiveology: Regarding Nguyen Trinh Thi’s Essay Films." In The (Im)possibility of Art Archives, 265–78. Singapore: Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-99-5898-6_16.

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Ghanoui, Saniya Lee. "From Home to School: Menstrual Education Films of the 1950s." In The Palgrave Handbook of Critical Menstruation Studies, 931–43. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-0614-7_67.

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Abstract In this essay, Ghanoui examines two menstrual education films of the 1950s widely used in the United States: Molly Grows Up (1953) and As Boys Grow (1957). Ghanoui discusses how the films portrayed the menstrual cycle and how educational literature received the films. She argues that the films became popular because they eased the teaching responsibilities of school instructors without taking away their authority—the films supplemented traditional menstrual education in schools while teachers maintained jurisdiction in their classrooms.
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Misek, Richard. "‘All I have to offer is myself’: The Film-Maker as Narrator." In Beyond the Essay Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728706_ch09.

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Who precisely is the ‘I’ referenced in so many essay films’ voice-overs? It is easy to assume that it refers to the film-maker, but, even if the voice that we hear is the film-maker’s own, an essay film’s narrative ‘voice’ is always ambiguous. Starting from Chris Marker’s contradictory claim in a letter about Sans Soleil (1983) that all he has to offer is himself, the chapter explores how the aspiration of open and direct address is complicated through the various mediations involved in film-making. With particular focus on my own film, Rohmer in Paris (2013), it raises the paradoxical possibility that essay film-makers can only offer themselves, but are prevented by the form of the essay film from doing so.
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Brems, Brian, and Michelle E. Moore. "Introduction: Taxi Driver Forward." In ReFocus: The Films of Paul Schrader, 1–14. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474462037.003.0001.

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Provides an overview of Paul Schrader’s career, important biographical information, and a contextual reading of thematic and stylistic preoccupations of Schrader’s films. Establishes the framework for the subsequent essays through an examination of Schrader’s contributions to cinema as both a critic and a filmmaker. Begins with Taxi Driver and uses that film as a jumping off point for the remainder of his work, seeing each of the subsequent films as part of that film’s legacy. Taxi Driver is an important through line for many of the essays included in the collection, but not the focus of any individual essay. Use Taxi Driver and its many influences, including those from Schrader’s biography and his intellectual background as a critic, to craft a lens through which his other films can be viewed.
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"Chapter 8 Pedagogical Essay Films." In Rethinking Brechtian Film Theory and Cinema, 168–86. Edinburgh University Press, 2018. http://dx.doi.org/10.1515/9781474418911-012.

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Grant, Catherine. "The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking." In Beyond the Essay Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728706_ch10.

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This chapter carefully considers the practice of the audio-video essayist, reflecting on the topics of subjectivity, textuality, and technology. Grant is a film scholar who, in the last ten years, has begun to produce, write about, and publish creative-critical digital-video essays on film and media studies subjects, essays that use footage from the films studied, as well as other moving image/sounds from existing media. Her chapter examines the critical and theoretical threads that surround the audiovisual essay as it belongs to the tradition of the essay film and as it belongs to the broader realm of creative practice. She also thinks through some of the spectatorial implications of her online practice as research.
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Rascaroli, Laura. "Compounding the Lyric Essay Film : Towards a Theory of Poetic Counter-Narrative." In Beyond the Essay Film. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463728706_ch03.

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Both artists and critics refer more and more to a diverse range of contemporary films as lyric or poetic essays. Lyricism is indeed acquiring increasing relevance as one of the key modes adopted by an artistic practice that is spreading fast throughout the globe. Yet, the lyric essay is still substantially undertheorized. This chapter aims to refine the theoretical and analytical tools that are at our disposal to think about the lyric essay film, and to expand our understanding of how lyricism is used by film-makers to create audiovisual spaces for thought. In doing so, it draws on a specific case study, the cinema of contemporary Italian film-maker Pietro Marcello, whose experimental essayistic work is elegiac and political all at once.
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Torlasco, Domietta. "Film|Video|Essay." In The Oxford Handbook of Film Theory, 78—C4.N51. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190873929.013.4.

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Abstract What can the film essay do? I attend to this question by bringing together writings by Theodor Adorno, Max Bense, Hans Richter, and Hito Steyerl, among others, and films by Jean-Luc Godard, Roberto Rossellini, and Agnès Varda. What distinguishes my inquiry is that I propose to consider the essay form as a kind of rhythm. Following Roland Barthes, I understand the latter as a fleeting and fugitive form, a form that escapes capture. As a “manner of flowing” (rhuthmos in pre-Socratic philosophy) rather than a fixed form, the essay articulates not only a manner of knowing but also a mode of being. It pertains to the domain of aesthetic ontology, where it enables the emergence not of subjective or personal viewpoints but, rather, the reconfiguration of the distinction between the subject and the object, the body and the world, and the imaginary and the real.
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Kohoutek, Karen Joan. "“It’s strange, but it’s wonderful”: Doris Wishman’s Nude on the Moon." In ReFocus: The Films of Doris Wishman, 101–18. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474482349.003.0007.

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This chapter presents a narrative and genre analyses of Wishman’s Nude on the Moon to forward how the film flouts traditional conventions of the science fiction and nudist genres in a way that critiques hegemonic gender norms. In doing so it provides a contextual analysis of the film attuned to the history of second wave feminism and gender constructions in the 1960s. Resultingly, the essay provides a starting point for re-evaluating the film, which is one of Wishman’s rarely studied works. The chapter provides ample textual evidence and analysis for the film’s relationship to science fiction and nudist films while narrating critical industrial information on the film’s production.
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Krstić, Igor. "Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration." In World Cinema and the Essay Film, 55–69. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474429245.003.0004.

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Igor Krstić brings together the notion of ‘accented cinema theory’ (Hamid Naficy) with the category of the essay, in order to conceptualise a burgeoning body of film, video, and other moving image practices in what sociologists have termed ‘the age of migration.’ Through this confluence of a supposedly generic category (the essay film) with a theory that has been of great importance to film scholarship since its emergence, Krstić provides new perspectives on an emerging transnational body of films, all of which have been produced by diasporic, exilic or interstitial documentary and/or essay filmmakers in the recent past. In applying Naficy’s terminology, one can describe these examples as ‘accented essay films’, because they all deal with displacement, exile or migration in the essayistic format. His study includes readings of The Nine Muses(Akomfrah, 2009),Grandmother’s Flower(Jeong-Hyun Mun, 2007), Home (Hruza, 2008) and A Hungarian Passport(Kogut, 2001).

Conference papers on the topic "Essay films":

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Domingo, Jerome, Cara B. Francisco, Keylie Reyes, Melvin Sison, and Iluminada Vivien R. Domingo. "Context Comparison of Essay-Type Text Files." In the International Conference. New York, New York, USA: ACM Press, 2017. http://dx.doi.org/10.1145/3127942.3127962.

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Mologni, João, and Francisco Teixeira. "Film noir reconfigured in the Essay-film 33, by Kiko Goifman." In Congresso de Iniciação Científica UNICAMP. Universidade Estadual de Campinas, 2019. http://dx.doi.org/10.20396/revpibic2720192428.

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Algan, Neşe, Harun Bal, and Koray Yıldırım. "Foreign Trade and Hysteresis Effect: An Essay on Foreign Trade Flows in the Turkish Economy." In International Conference on Eurasian Economies. Eurasian Economists Association, 2022. http://dx.doi.org/10.36880/c14.02634.

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There is a wide literature that temporary shocks in real exchange rates and volatility will cause structural breaks in foreign trade. As a result of temporary shocks in real exchange rates, the real exchange rate elasticity of imports decreases. The decrease in the sensitivity of the import volume to real exchange rates and the failure to return to its former levels after the temporary shock is expressed as the hysteresis situation. In case the exchange rates return to their previous levels after the temporary shock, the main dynamic of hysteresis is that the firms exhibit the behavior of staying in the market due to sunk costs. In the study, foreign trade flows in the Turkish economy were analyzed for the period 2003Q1-2021Q2 by using the asymmetry hypothesis in order to test the hysteresis effects. According to the findings obtained from the asymmetry hypothesis, the absence of a decrease in the import volume during the period of depreciation of the domestic currency indicates the existence of the hysteresis effect. The fact that the firms exhibited the behavior of staying in the market in exchange rate depreciation in the Turkish economy means that sunk costs are extremely effective in hysteresis. Based on this information, as a solution to the hysteresis effects in foreign trade flows in the Turkish economy at the point of policymaking, reducing the sunk costs in market entry to reasonable levels and ensuring stability in exchange rates come to the fore as suggestions in terms of hysteresis.
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De Oliveira Alves Takeuchi, Renan, Nicole Polityto Cremasco, and Jair Urbanetz Junior. "Aterramento Funcional em Sistemas Fotovoltaicos de Filme Fino." In Congresso Brasileiro de Automática - 2020. sbabra, 2020. http://dx.doi.org/10.48011/asba.v2i1.1611.

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Associado a expansão do setor fotovoltaico, estudos dos fatores de perdas apresentados em plantas em operação ganharam notoriedade na literatura pela busca do entendimento da causa e soluções dos danos. No universo de módulos fotovoltaicos de filme fino com estrutura de superstrato, fatores como a Degradação Induzida pelo Potencial (PID), corrosão eletroquímica da camada de Óxido Transparente Condutivo (TCO) e a delaminação das camadas são mais recorrentes na literatura e normalmente estão correlacionados através do potencial do gerador fotovoltaico e da corrente de fuga. Alguns procedimentos são adotados para evitar a ocorrência destes fatores de perda, garantindo o correto funcionamento do sistema. A isolação galvânica comumente é sugerida por fabricantes de módulos, porém essa medida isolada não é suficiente para solucionar integralmente esses fatores de perda. O aterramento funcional de sistemas fotovoltaicos de filme fino é indicado por fabricantes de módulos como recurso para impedir o surgimento do PID, através da polarização uniforme das células ao aterrar o pólo negativo do gerador fotovoltaico. Sendo assim, este estudo apresenta uma revisão da literatura referente aos fatores de perda que os módulos de filmes finos estão sujeitos, além dos procedimentos adotados para impedir o surgimento destes fatores de perda. Com isso, contribui como um guia rápido para os pesquisadores e estudantes no campo fotovoltaico.
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Santos, William Pereira, Claudia Regina de Andrade Arrais Rosa, and Alcindo Antônio Ferla. "“The normal heart”: um filme para abordar a aids e o preconceito na sociedade e no cuidado em saúde." In XIII Congresso da Sociedade Brasileira de DST - IX Congresso Brasileiro de AIDS - IV Congresso Latino Americano de IST/HIV/AIDS. Zeppelini Editorial e Comunicação, 2021. http://dx.doi.org/10.5327/dst-2177-8264-202133p097.

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Introdução: Obras ficcionais podem embasar análises de questões sociais, sobretudo quando essas são expostas mobilizando debates. Objetivo: Analisar o uso de filmes como estratégia pedagógica para mobilizar imaginários e compreender as relações entre a saúde e a sociedade. Métodos: Ensaio a partir do filme “The Normal Heart”, drama estadunidense dirigido por Ryan Murphy a partir de roteiro do dramaturgo Larry Kramer, com pesquisa em documentos contemporâneos sobre cuidado em saúde e preconceito. Resultados: O filme é contemporâneo, de 2014, retratando a crise social e sanitária da aids nos Estados Unidos no início da década de 1980. O enredo aponta o desconhecimento das pessoas sobre a realidade da época e evidencia a negligência governamental em políticas preventivas e de cuidado, motivada pelo preconceito com homens homossexuais, primeiro grupo com visibilidade de adoecimento e mortalidade. Passadas quatro décadas de evolução, mesmo com políticas para o cuidado à saúde das pessoas vivendo com vírus da imunodeficiência humana, a doença é muito relevante no Brasil, conforme os boletins epidemiológicos oficiais. No Brasil, cerca de 920 mil pessoas vivem com vírus da imunodeficiência humana, mas somente 89% têm diagnóstico confirmado (40% deles com diagnóstico tardio); 77% fazem tratamento antirretroviral no Sistema Único de Saúde, e quase totalidade desses já tem carga viral indetectável. Os números são relevantes e falam de histórias de tristeza, estigma social, preconceito e negligência. Políticas de cuidado embasadas na integralidade precisam prover ações de atenção às pessoas e romper os estigmas sociais associados às doenças, construindo novos imaginários sociais. Conclusão: A ficção ajuda a desvelar o preconceito social e a reflexão sobre as relações entre saúde e sociedade. Compreender as vulnerabilidades às quais pessoas e grupos estão sujeitos permite repensar valores, práticas e desenvolver capacidades profissionais sem sorofobia, homofobia e preconceito, mostrados no filme de forma contundente.
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Magalhães Junior, Gilvan V., Roney L. de S. Santos, and Raimundo S. Moura. "Um Método de Avaliação da Importância de Medidas para Predição da Nota de um Filme." In VI Brazilian Workshop on Social Network Analysis and Mining. Sociedade Brasileira de Computação - SBC, 2017. http://dx.doi.org/10.5753/brasnam.2017.3248.

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Analisar informações sobre filmes antes de assisti-los é uma prática comum realizada pelo público. Entretanto, a grande quantidade de reviews nas Redes Sociais Online (RSO) e em sites da Web torna essa tarefa quase impossível. Como uma possível solução para tal problema, alguns sites utilizam filtros baseados nas notas dadas pelos usuários em seus reviews. No entanto, essa prática pode resultar em usuários utilizando as notas como um artifício para obter destaque. Este trabalho propõe um método automático para analisar a importância de medidas a partir dos reviews com a intenção de predizer a nota dos usuários. Realizou-se um experimento com cinco filmes de gêneros diferentes e conjuntos de reviews definidos por três limiares. O experimento mostrou que os melhores resultados foram obtidos com o limiar 0,5 e as medidas de maior importância foram: quantidade de sentenças, quantidade de críticas e corretude do review.
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Cristian, Leonardo, Rubenilson de Sousa, and Francisco Airton Silva. "Avaliação de desempenho de uma arquitetura de vídeo sob demanda usando rede de filas fechada." In Encontro Unificado de Computação do Piauí. Sociedade Brasileira de Computação, 2021. http://dx.doi.org/10.5753/enucompi.2021.17770.

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O serviço de streaming vem recebendo uma grande visibilidade ultimamente, obtendo cada vez mais usuários. Essa notoriedade é devido ao contexto atual do mundo, onde com a pandemia ocasionada pelo COVID-19, levou a população a aderir mais pelo entretenimento oferecido pelas plataformas de vídeo sob demanda. No entanto, para suportar essa alta demanda pelos seus serviços, é viável ter uma avaliação a respeito do desempenho neste tipo de arquitetura, a fim de evitar gargalos que podem estragar a experiência dos usuários. Este artigo propõe um modelo de filas fechadas para avaliação de desempenho. Tal modelo nos permite calcular algumas métricas como, tempo médio de resposta (MRT) e utilização dos componentes, bem como realizar simulações em diferentes cenários. O modelo proposto permite que o projetista avalie previamente o comportamento deste tipo de infraestrutura sem a necessidade de gastos prévios, possibilitando uma simulação precisa antes da sua implantação. E com os resultados das simulações, foi possível identificar alguns fatores que prejudicam o desempenho do modelo, bem como sua melhor configuração.
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Vinogradova, Tatiana. "“DEPEND ON HEAVEN FOR FOOD”: A WELL-KNOWN PROVERB IN LITERATURE, ILLUSTRATIONS AND COMMENTS." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.16.

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“Depend on Heaven for food” (kao tian chi fan, 靠天吃飯) is a well-known Chinese proverb. The presumed author of this expression was Wen Kang (文康), his novel Legend of Heroes and Heroines (儿女英雄傳) Ernü Yingxiong Zhuan first published in late 1870s became very popular. The expression “depend on Heaven for food” is from the 33rd chapter of the novel. Yet, the image under the title Picture Depend on Heaven for Food (kao tian chi fan tu, 靠天吃飯圖) appeared earlier than novel: two stone steles dated 1813 with the same picture, but different commentary text. In the academician Vasyli M. Alekseev’s collection of Chinese popular prints nianhua there are several engravings on this subject, the explanations for which are in the notebooks of the Chinese xiansheng mentors V. M. Alekseev to his collections of folk art (St. Petersburg Branch of the Archive of the Russian Academy of Sciences, fund 820, inv. 1, files 473, 479a). And finally we can compare xiansheng comments to (kao tian chi fan tu, 靠天吃飯圖) with the essay on the same subject by Lu Xun in his Qie Jie Ting Essay Collection (雜文集: 且介亭雜文二 集, 1935).
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Santos, Alexandre Dias Dos. "O STORYTELLING COMO FERRAMENTA NA PRATICA DOCENTE." In II Congresso Brasileiro de Educação a Distância On-line. Revista Multidisciplinar de Educação e Meio Ambiente, 2022. http://dx.doi.org/10.51189/conbraed/39.

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Introdução: Nas formações docentes um assunto é recorrente, a falta de atenção dos alunos nas aulas, seria transformador, alguém desenvolver uma ferramenta que possa tornar as aulas mais participativas e com alunos atentos, seria um sonho? A resposta é não! E essa ferramenta existe desde os primórdios da civilização. O storytelling.(contar histórias). Objetivos: Diminuir a falta de atenção e estimular o engajamento dos alunos em sala de aula. Material e Métodos: A metodologia aplicada no uso de storytelling é a aula expositiva o material utilizado nas contações de histórias vai desde um livro até imagens em Power point e filmes. Resultados: Os resultados obtidos nas vivências em sala de aula como professor da rede municipal da Cidade do Cabo de Santo Agostinho-PE. Pela amostragem 6 turmas de 6º ao 9º Ano. Percebido um aumento de interesse pelo conteúdo da disciplina, a concentração dos alunos no momento das explanações das histórias também foi perceptível, além de alguns alunos debaterem entre si as histórias, houveram também situações que os discentes chegaram para o professor e disseram: Aconteceu comigo ontem parecido com a historia que o senhor contou ou lembrei do senhor quando vi um menino bem magrinho na minha rua, veio a mente o lobo magrinho que o senhor contou na história, muitas vezes as narrativas transcenderam o ambiente escolar gerando conexões e contextualizações entre o conteúdo e os discentes. Conclusão: Storytelling tem o poder de cativar a atenção por minutos e até horas e a indústria do marketing sabe disso. O autor percebeu que o storytelling (usado nos anúncios, filmes e novelas) pode transformar o ambiente educacional. Quem nunca pagou para ver um filme ao se interessar pela historia? Nesse momento até os celulares são desligados para que a atenção seja voltada sem distrações para a narrativa do filme. O storytelling é uma ferramenta potente para o professor, inicie sua próxima aula com a seguinte frase: Amigos, vou contar uma história. E perceba os olhos atentos e curiosos dos discentes, prontos para se conectarem e se envolver nesse fantástico universo. Por fim um storytelling: Era uma vez a falta de atenção.
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Batista, Rafael Rodrigo do Carmo, and Thiago Henrique Bragato Barros. "Indexação e gêneros cinematográficos: análise da categorização de filmes de terror em plataformas de video on demand." In VI Workshop de Informação, Dados e Tecnologia - WIDAT. Instituto Brasileiro de Informação em Ciência e Tecnologia, 2023. http://dx.doi.org/10.22477/vi.widat.24.

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Introdução: A pesquisa buscou compreender a organização (representação e recuperação) da informação audiovisual através da categorização de filmes de terror em serviços Video on Demand (VOD), indicando as características e desafios presentes na representação da informação de filmes. Objetivos: Avaliar a categorização de filmes de terror em três serviços VOD: Netflix, Amazon Prime Video e Globoplay. Apresentando a informação presente em filmes através do conceito de gênero cinematográfico, discutem-se sobre visões dentro da pesquisa de cinema sobre gêneros cinematográficos e a sua importância. Metodologia: A pesquisa avaliou a categorização existente nos três serviços VOD selecionados: Amazon Prime Video, Netflix e Globoplay a partir de trinta filmes selecionados (dez de cada serviço). Resultados: A Netflix oferece um desempenho maior em relação aos concorrentes, seja na comparação com o domínio, como nos testes de recuperação, quanto na recuperação de filmes através dos termos obtidos nos mapas conceituais – e essa diferença pode ocorrer pela preocupação da Netflix em oferecer uma experiência baseada na percepção do espectador. Conclusão: Indica-se que é possível caracterizar a organização de filmes em VOD, mas são necessárias outras análises, como o uso das emoções na construção dessas categorias.

Reports on the topic "Essay films":

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Mintii, Iryna S., Svitlana V. Shokaliuk, Tetiana A. Vakaliuk, Mykhailo M. Mintii, and Vladimir N. Soloviev. Import test questions into Moodle LMS. [б. в.], September 2019. http://dx.doi.org/10.31812/123456789/3271.

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The purpose of the study is to highlight the theoretical and methodological aspects of preparing the test questions of the most common types in the form of text files for further import into learning management system (LMS) Moodle. The subject of the research is the automated filling of the Moodle LMS test database. The objectives of the study: to analyze the import files of test questions, their advantages and disadvantages; to develop guidelines for the preparation of test questions of common types in the form of text files for further import into Moodle LMS. The action algorithms for importing questions and instructions for submitting question files in such formats as Aiken, GIFT, Moodle XML, “True/False” questions, “Multiple Choice” (one of many and many of many), “Matching”, with an open answer – “Numerical” or “Short answer” and “Essay” are offered in this article. The formats for submitting questions, examples of its designing and developed questions were demonstrated in view mode in Moodle LMS.

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