essay on films
in to Film When is the last time that we as an audience watched a film without sound? What if the silent film was to make a resurgence, how would we, as a nation, respond? How important has music within film become? Why does music affect us the way that it does? From the beginning of film to today’s digital formatting, music had been a stable part of entertainment and used to suggest certain emotional responses on the audience and we haven’t questioned it. Music is an important part to film and without
movies. People love the idea of pictures moving. Another name for the movies is actually motion pictures. Movies are one of the biggest Industry in the world. Movies make billions and billions of dollars a year. At first movies was just silent films. These films showed them doing scenes then they would have what the actor/actress said with writing. Then they would put the words that the actress said on the screen. Then eventually they had sound, but was still in black and white. Eventually color movies
Alter and Corrigan’s volume implies that the essay can inhabit many forms, styles or genres. More importantly is the idea that it should be recognised for its intentions and capabilities. Whatever form it takes, the essay is an attempt to seek, explore, understand, visualise and question, without necessarily providing clearly defined answers. The essay film also places considerable value on the intellect and opinion of the viewer, since it is an invitation to reflect on the thoughts, experiences, emotions and perceptions that are being conveyed. “Essays on the Essay Film” sensibly concludes with the chapter entitled “Filmmakers on the Essayistic”. Notable filmmakers, such as Lynn Sachs and Ross McElwee provide valuable insight into their own practices. The featured filmmakers, documentarians and video artists in this chapter do not focus specifically on what form their work takes, but what they are trying to achieve. For instance, in her article “On Writing the Film Essay,” Lynn Sachs proclaims that “My job is not to educate but rather to spark a curiosity in my viewer that moves from the inside out.” (p. 287.) Admittedly, Sachs’s statement contradicts the idea that documentary films seek to educate, inform and persuade, which I taught in my own classes. Yet Sachs’s insights, as well as those of the many other filmmakers in “Essays on the Essay Film” demonstrate how the camera is as versatile as the pen when communicating thoughts, emotions and ideas.
Rather than locate a linear connection between past, present and future, the narrative flashbacks in The Tree of Life become a search for genesis – or more accurately many geneses – which might be better described as disruptive recollections that never adequately collect and circulate, as fractured and drifting images and moments producing not evolutionary lines, but the spreading reflective branches of essayism. (p. 19-20.)
Widely acknowledged as the master of the film, Le fond de l’air est rouge is a personal rumination of discontent on the progression and dissolution of left-wing politics from Vietnam up until the films release in 1977.
Shot by Boris Kaufman, brother of Dziga Vertov (Man with a Movie Camera), A Propos de Nice is a satirical portrait of life in 1920’s Nice. The leisurely upper classes of French society are the subjects of a portrayal the blind escapism and ignorance created by modernity.
Similarly, it helps people socialize better. It connects people and helps break the ice. People often discuss cinema to start a conversation or more. Moreover, it is also very interesting to talk about rather than politics and sports which is often divided.
People also consider it to be a waste of time and money as most of the movies nowadays are not showing or teaching anything valuable. It is just trash content with objectification and lies. Moreover, it also makes people addicts because you must have seen movie buffs flocking to the theatre every weekend to just watch the latest movie for the sake of it.
As they negotiate the camera’s gaze and provide the soundtrack by singing, stamping and wheeling a barrow, the lepers are co-authors of the film. Farrokhzad echoes their prayers, heard and seen on screen, with her voiceover, which collages religious texts, beginning with the passage from Psalm 55 famously set to music by Mendelssohn (“O for the wings of a dove”).
Vertov’s Man with a Movie Camera (1929), now claimed as the most venerable and venerated ancestor of the essay film (and this despite its prototypically purist claim to realise a ‘universal’ cinematic language “based on its complete separation from the language of literature and the theatre”) is the archetypal model of this high-modernist agon. While it is the turning of the movie projector itself and the penetrating gaze of Vertov’s kino-eye that sets the whirling dynamo of the city into motion, the recorder creating that which it records, that motion is also outside its control.