Lee thompson, 1962) Cat people (Jacques tourneur, 1942) caught (Max Ophüls, 1949) Citizen Kane (Orson Welles, 1941) The conversation (Francis Ford Coppola, 1974) dial M for Murder (Alfred Hitchcock, 1954) do the right Thing (Spike lee, 1989) duel in the sun (King Vidor, 1946) Europa. Francis (Roberto rossellini, 1950) Force of evil (Abraham Polonsky, 1948) Forty guns (Samuel Fuller, 1957) Germany year Zero (Roberto rossellini, 1948) Gilda (Charles Vidor, 1946) The godfather (Francis Ford Coppola, 1972) Gun Crazy (Joseph. Lewis, 1950) healtH (Robert Altman, 1980) heavens Gate (Michael Cimino, 1980) house of Wax (André de toth, 1953) How Green Was my valley (John Ford, 1941) The hustler (Robert Rossen, 1961) i walk Alone (Byron Haskin, 1948) The Infernal cakewalk (Georges Méliès, 1903) It Happened. Mankiewicz, 1953) Kansas City (Robert Altman, 1996) Kiss me deadly (Robert Aldrich, 1955) Klute (Alan. Pakula, 1971) la terra Trema (Luchino visconti, 1948) The lady from Shanghai (Orson Welles, 1947) The leopard (Luchino visconti, 1963) Macbeth (Orson Welles, 1948) The magic Box (John boulting, 1951) M*A*S*H (Robert Altman, 1970) a matter of Life and death (aka stairway to heaven ). Miller (Robert Altman, 1971) The messiah (Roberto rossellini, 1975) Midnight Cowboy (John Schlesinger, 1969) Mishima (Paul Schrader, 1985). Deeds goes to town (Frank capra, 1936). Smith goes to washington (Frank capra, 1939) Nashville (Robert Altman, 1975) Night and the city (Jules Dassin, 1950) One, two, three (Billy wilder, 1961) Othello (Orson Welles, 1952) paisan (Roberto rossellini, 1946) peeping Tom (Michael Powell, 1960) Pickup on south Street (Samuel Fuller, 1953) The.
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In the interest of helping you sift through the list and load up your Netflix queue and Amazon cart accordingly, weve put together a video essay of clips and stills from the Scorsese 85, using his own words when possible (from his wonderful number documentaries. A personal journey with Martin Scorsese Through American movies and, my voyage to Italy ). We strongly recommend reading the article first, since some of the other clips were chosen specifically to comment his"s on them (. Klute, the Trial, and, m*A*S*h, for example). Check out our latest video essay after the jump. Video essay: The martin Scorsese film School from, flavorwire on, vimeo. Credits, edited by jason bailey, music by van Morrison, the rolling Stones, and Derek and the dominoes. Special Thanks to fast Company, clips and stills, ace in the hole (Billy wilder, 1951). All zimmer That heaven Allows (Douglas Sirk, 1955 america, america (Elia kazan, 1963 an American in Paris (Vincente minnelli, 1951). Apocalypse now (Francis Ford Coppola, 1979 arsenic and Old Lace (Frank capra, 1944 the bad and the beautiful (Vincente minnelli, 1952) The band Wagon (Vincente minnelli, 1953) Born on the fourth of July (Oliver Stone, 1989) Cape fear (J.
Order Now and roles Check for yourself. For the past couple of weeks, movie buffs have been tweeting, discussing, and analyzing this piece from, fast Company, which distilled a four hour interview with Martin Scorsese into a list of 85 films you need to see to know anything about film —. Scorseses mini-film school, if you will. There are some real surprises on the list: no kubrick, no fellini, no kurosawa, no peckinpah, very little French New wave, only one hitchcock. Meanwhile, theres more Altman than we might have anticipated, as well as copious amounts of Welles and Rossellini. If Marty is like us — and wed like to imagine he is — theres also a very good chance that these are just the 85 movies that were on his mind that day. Your list of favorite films is a living thing, always changing and amending, growing and revising; wed bet good American money he thought of five films he shouldve included the second he walked out the door. (The absence of 8, for example, is suspect, since he called it a personal turning point in his documentary. My voyage to Italy.) But this is the list he made on that day, in that room, and its worth looking at; there are some really interesting choices here, titles worth seeking out if you havent seen them.
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He once described his practice as images commenting on images, an analytic technique that, through its resourcefulness and simplicity, frequently yields eloquence. He is represented in the bfi series by how to live in the federal Republic of Germany, a perversely inspired selection, given how much more overtly essayistic some of Farockis other films are compared to this Wiseman -esque observational chronicle of behavioural training sessions (birthing. But theres no question that over the accumulation of scenes, a socially critical discourse emerges, in a mode thats highly relevant to critical (or uncritical) media today: the film plays like an extended supercut of real-life scripted events. In his own way, farockis work fulfils another wish for the essay film expressed by Tracy that I share, to see the image as part of a matrix of meaning that extends beyond the screen. This takes me back to this articles starting point in the contemporary morass of online clip compilations and fan tributes that pass as essays, and what alternative mode of media could place us in a more critically aware position with regard to how media functions. In this way, the essay film might realise a greater purpose than existing as a trendy label, or as cinemas submission to high-toned and half-defined literary concepts.
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Perhaps Markers recent passing moves us to attend to his sui generis contributions to cinema but at the list recent Flaherty film Seminar on documentary film, the halo cast around Markers memory was so thick as to be suffocating. His legacy has become so firmly tied with the essay film that many presume a subjective voiceover narration is essential to such works. But over the last 30 years, the centrality of the essay film voiceover has been thoroughly complicated (cf. The Black audio film Collectives masterfully polyphonal Handsworth Songs subverted (Ben rivers faux-anthropological Slow Action ) or altogether abandoned (Jose luis guerins wordlessly analytical Train of Shadows ). To tracys credit, he links the use of voiceover to a purpose that he and I both consider essential to essay filmmaking in his words, to interrogate the image, to dispel the illusion of its sovereignty. This discontentedness with the cinema, and all that it has promised us over the past century (total entertainment, total art, total bazinian reality is one of the profoundest subtexts to Tracys piece, a drop-kick through the looking glass of the screen into the world around. Where Tracy and I seem to differ is in the necessity of literary techniques such as the voiceover in determining cinemas capacity to interrogate itself; where he seems to hold that such interpolations are necessary to create the necessary critical distance to cinema that enables. To" no less a marker enthusiast than Kodwo Eshun of the Otolith Group homepage : to me, the essayistic is not about a particular generic fascination for voiceover or montage, the essayistic is dissatisfaction, its discontent with the duties of an image and the. Here its worth mentioning another figure who plan has done as much as Marker to define essay filmmaking practice over the last 30 years: Harun Farocki, who has spent a lifetime unpacking images as embodiments of social systems (from prison surveillance videos to business presentations.
Man with a movie camera, tarkovskys, mirror and why not Malicks, the Thin Red Line? To pose a more critical question than are they or arent they?, i wonder if the habitual exclusion of the aforementioned titles from the essay film conversation has to do with an urge to reserve the distinction for films and filmmakers who more thoroughly occupy. On this score the cause célèbre. Chris Marker, who figures prominently in the theorising done to date by essay film scholars such as Rascaroli, nora Alter and Timothy corrigan, as well as in Andrew Tracys feature article on four the subject in the. August 2013 issue of Sight sound. Tracys essay gives a compelling account of the evolution of what in hindsight came to be known as the essay-film form, which, according to his telling, seems to culminate with the left Bank triumvirate (amply represented in the bfi series) of Marker, Alain Resnais and. To be sure, these works amount to a defining moment in the evolution of the form but not the defining moment; the three decades since sans soleil have seen a veritable explosion of essayistic filmmaking that Tracys account neglects to acknowledge.
by volker Pantenburg, the common notion of the essay film as a form for free-flowing, subjective non-conformity, a concept borrowed from literary conceptions of the essay that. Michel de montaigne, has itself become a convention bordering on cliché. My own working definition of the essay film errs on the side of inclusion at the expense of qualitative judgment or inflated promises of uniqueness: for me, an essay film explicitly reflects on the materials it presents, to actualise the thinking process itself. This gives a firmer delineation against a more general conception of experimental or documentary film practices, while also entertaining other films that one might otherwise neglect as essay films. Looking at the top results of last years. S s greatest Films of All Time poll, one finds no-brainer examples like. Sans soleil and, histoire(s) du cinema, but one should certainly also include the likes of Vertovs.
S s deep Focus series on essay filmmaking as a much-needed occasion to reflect on the significance of this word essay in relation to film and video. However, having watched and re-watched most of the films in the series, and engaged with several critical texts on the essay film, Im no longer even certain if most of the videos ive produced over the years qualify as essayistic. I pondered this when encountering essay film scholar laura rascarolis disqualification of Michael moores Fahrenheit 9/11 as an essay film : Spectators are asked to follow the facts, to watch and listen, and progressively discover an objective truth, to which the author holds the key. Much writing on essay films espouse a resistance to the didactic, the pedagogical (which my work has been mini described, and not always in tones of approbation or the polemical, while embracing the forms ability, through the combination of images, sounds and words, to express the. In the words. Hans Richter, who coined the term in 1940, the essay film: allows the filmmaker to transgress the rules and parameters of the traditional documentary practice, granting the imagination with all its artistic potentiality free reign. However, these grandiose assertions confound as much as they clarify what constitutes an essay film. Moore underestimates how his blunt-force polemics elicit (and even solicit) an active response from the audience, stimulating a critical engagement with the film and its political discourse, a strategy akin to the incendiary film essays.
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I cannot recall how the term video essay came to be the adopted nomenclature for the ever-increasing output of online videos produced over the past few years by an ever-growing range of self-appointed practitioners (including myself). My own entrance into this field was an organic synthesis of my backgrounds as a film critic and a filmmaker, two modes that had competed with each other in my mind until I started to pursue the possibilities of critically exploring cinema through the medium. This practice is readily possible in an age when digital technology enables virtually anyone with a computer (not even a video camera, as images are overly abundant and accessible) to produce media with nearly as much ease as it is to consume. Does revelation this type of production herald an exciting new era for media literacy, enacting. Alexandre Astruc s prophecy of cinema becoming our new lingua franca? Or is it just an insidious new form of media consumption? At least thats how much of what lately is termed video essay strikes me: an onslaught of supercuts, list-based montages and fan videos that do less to shed critical insight into their source material than offer a new way for the pop culture snake. Minding the as-yet-unfulfilled potential of critical online media, i take great interest in the bfi southbanks August.