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

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
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(p.238) Index