The personal camera : subjective cinema and the essay film / Laura Rascaroli.
Material type:
TextPublication details: London -- New York : Wallflower Press, 2009.Description: viii, 226 p. : ill. -- 24 cmISBN: - 9781906660123 (pbk.)
- 1906660123 (pbk.)
- Subjective cinema and the essay film
- 791.4301 RAS
| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 791.4301 RAS (Browse shelf(Opens below)) | 1 | Checked out | 30/06/2020 | 39002100466433 |
Enhanced descriptions from Syndetics:
The Personal Camera is an exploration of an elusive but more and more compelling field: essayistic cinema. The essay film, together with its cognate forms--the diary, the travelogue, the notebook and the self-portrait--is cinema in the first person. It is a cinema of thought, of investigation and self-reflection, in which the filmmaker, instead of withdrawing behind the camera, comes out into the open, to say 'I', to take responsibility, and to address and engage with the spectator within a shared space of embodied subjectivity. Authorial, experimental and radical, essayistic cinema belongs within the lineage of avant-garde and political filmmaking and responds above all to the need we feel today for more contingent, autobiographical, private forms of expression. This study provides a unique insight into an intricate but fascinating field, by engaging with the work of directors such as Jean-Luc Godard, Chris Marker, Harun Farocki, Pier Paolo Pasolini, Alexander Sokurov, Michelangelo Antonioni, Derek Jarman, Federico Fellini, Wim Wenders, Jonas Mekas and Agnés Varda.
Includes bibliographical references (p. 206-219) and index.
The essay film: problems, definitions, textual commitments -- The metacritical voice(over) of the essay film: Harun Farocki, found footage and the essayist as spectator -- The musealisation of experience: Chris Marker\'s digital subject between archive, museum and database -- Performance and negotiation: Jean-Luc Godard plays Jean-Luc Godard -- First-person filmmaking: history, theory, practices -- The diary film: Aleksandr Sokurov\'s Spiritual Voices and the feeling of time -- The notebook film: Pier Paolo Pasolini and the film that cannot be made -- The self-portrait film: Michelangelo\'s last gaze.
Table of contents provided by Syndetics
- acknowledgements (p. vii)
- introduction Subjective cinema and the l/eye of the camera (p. 1)
- part 1 the essay film
- 1 The essay film: problems, definitions, textual commitments (p. 21)
- 2 The metacritical voice(over) of the essay film: Harun Farocki, found footage and the essayist as spectator (p. 44)
- 3 The musealisation of experience: Chris Marker's digital subject between archive, museum and database (p. 64)
- 4 Performance and negotiation: Jean-Luc Godard plays Jean-Luc Godard (p. 84)
- part 2 personal cinema
- 5 First-person filmmaking: history, theory, practices
- 6 The diary film: Aleksandr Sokurov's Spiritual Voices and the feeling of time (p. 115)
- 7 The notebook film: Pier Paolo Pasolini and the film that cannot be made (p. 146)
- 8 The self-portrait film: Michelangelo's last gaze (p. 170)
- afterword (p. 189)
- notes (p. 192)
- bibliography (p. 206)
- index (p. 220)