essay on film studies

Opening with Eric Faden's inspiring work, and following on from its own numerous championings of the online video essay as a hugely promising tool for Film Studies, Film Studies For Free is very happy to present, today, a 'Video Essay Manifesto'. It humbly hopes that it will both inform its readers and stir them to try out this critical/pedagogical genre for themselves ('How to' information-links are given at the foot of the post).Immediately below, there are lots of pointers to as well as little snippets from useful and stimulating reflections on the video essay by those who have pioneered it in virtuosic online forms (Kevin B Lee, Steven Boone, Matt Zoller Seitz, Jim Emerson, Eric Faden, and Christian Keathley), by others who have commented on such work, and a few other key interventions on offline films (or videos) about films by critics, activist filmmakers, and theorists (Hans Richter, Jonathan Rosenbaum, Alexandra Juhasz, Jean-Luc Godard, and Slavoj Žižek).[T]he film essay enables the filmmaker to make the ‘invisible’ world of thoughts and ideas visible on the screen. Unlike the documentary film that presents facts and information, the essay film produces complex thought—reflections that are not necessarily bound to reality, but can also be contradictory, irrational, and fantastic. Hans Richter, Der Filmessay: eine neue Form des Dokumentarfilms (The Film Essay: A New Form of Documentary Film) paraphrased by Nora Alter, “Memory Essays”, Stuff It: The Video Essay in the Digital Age (ed. Ursula Biemann, Zurich: Edition: Voldemeer, 2003), 12-23, p. 13[S]ometimes when I try to convey something about my experience of movies -- filtered, as always, through reflections and contrasts between images, memories, themes, styles -- what I really want to do is make a movie about it. That seems like the shortest, most direct way from imagination to articulation. The movie.
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Studying Cinema 2000 People talk about the movies they see, and some people write about those movies for newspapers and magazines. How does film studies, as an academic discipline, accord with these more common ways of talking and thinking about films? The two ways of thinking about film aren’t completely distinct, I think, but some differences are worth noting. First, ordinary discourse about cinema centers on evaluative talk. “That movie was great! I loved it!” “Really? I didn’t think it was very good.” Likewise film reviewers take as their primary goal the evaluation of films, giving thumbs up or thumbs down, saying whether they regard them as worth the ticket price or not. Academic film studies can involve evaluation, but for most film scholars evaluating a particular movie isn’t, or isn’t always, the goal. Secondly, ordinary conversation tends to be ahistorical, in the sense that this or that movie is not seen as part of a tradition or long-range trend. Most reviewers follow this tendency; they typically don’t have the space or the mind-set to put a film in the context of film history. When a reviewer does invoke a historical context, it’s usually the present: a reviewer often treats a film as reflecting current social trends. Third, and most important, typical talk about movies isn’t very analytical. It doesn’t explore how the parts of the film relate to one another in systematic ways; it doesn’t dissect strategies of plotting or aspects of style; it doesn’t examine the ideological maneuvers the film might execute. A reviewer might mention such factors, described more or less evocatively (“jagged montage,” “incoherent motivation,” etc.) but again, there is seldom the space, or the inclination, to probe such matters. Film studies, it seems to me, is an effort to understand films and the processes through which they’re made and consumed. Film scholars mount.