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A Summary of the Reading
The Essay Film: Problems, Definitions, Textual Commitments is an article written by Laura Rascaroli and published in Framework: The Journal of Cinema and Media Drake Stutesman; Wayne State University Press, 2008).
Despite the increasing number of essay films released over the recent decades, there is no single definition explaining their essence, as they are commonly believed to transcend the boundaries of traditional film genres. In this sense, essay films are similar to literary essays, which many philosophers and writers see as a form of art that creates its own conditions of existence. Two of the most important features that characterize essay films are subjectivity and reflectivity, which manifest in the way essays, both literary and filmic, represent the act of thinking and the author’s personal autobiographical experiences. The implication of a clear and distinctive “I” in the essay form also emphasizes “you”, the object of the narrative; these two determine and shape each other.
While there were references to essayistic forms used in cinematic literature in the early 20th century, the first explicit contribution to the form was Hans Richter’s “Der Filmessay, Eine neue Form des Dokumentarfilms” (Rascaroli 27). In this work, Richter described essay films as a way to explore and give body to one’s imagination, thoughts, and abstract ideas. Other important qualities of essay films were also defined by Richter’s work. These include the derivation from documentaries and the intersection of intellectual and emotional ideas. In addition, heresy and openness are often incorporated in essay films. The authorial presence is also very characteristic of the essay film and can be represented using voice-over or an evident enunciator.
Reaction to the Reading
This work is related to the life and problems in the present-day world. As all spheres of modern life, art is constantly changing and developing, and new forms and genres are introduced. However, many artworks tend to focus on overtheorizing and using pre-determined structures that have been used numerous times over the years. This can result in the repetition of art forms, unimaginative ideas, and one-sided, biased representations of reality that focus on common views. This work has demonstrated that essay films can transcend these limitations, so their elements can be used by modern cinematographers.
Reading the assigned material was a very engaging and thought-provoking process for me. It made me reflect on how personal experiences can vary and how film creators use essayistic forms to convey emotions and scenes that could only be possible in their own world of imagination. I have always tried not to limit myself in my artistic aspirations and urged creative people around me to do the same. It seems to me that essay films can also encourage viewers to be more free and creative.
I have realized that essay films challenge the common fear of not being understood. Although most of the popular genres use a structured approach and have a cohesive narrative, essayistic art forms place a much more significant emphasis on the author’s personal emotions and experiences. The form itself implies that there is no need to structure and overtheorize art, as it is a mere expression of a human being with unique emotions and perspectives. Having read the assigned material, I think that essay films are among the most honest and genuine forms of art.
Work Cited
Rascaroli, Laura. “Framework: The Journal of Cinema and Media.” Framework: The Journal of Cinema and Media, vol. 49, no. 2, 2008, pp. 24-47.
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