Professional Documents
Culture Documents
Essay Film As A Dialogical Form
Essay Film As A Dialogical Form
Naz Önen
Keywords
Essay Film
Dialogue
Voice-Over
Audience
Narrative
Abstract
The essay film is one emerging genre in which the sonic elements and the editing
characteristics are constructing the basis of its communication structure within and
beyond the audiovisual material. This paper will enlighten the unique language and the
means of communication of the essay form. In the essay film, the voice functions as a
means of expression as opposed to a stack of sounds. With the support of the editing
elements, the voice becomes a stylistic reflection towards the world, where the audience
perceives the tone of the filmmaker. The voice is also not a rhetoric that oppresses the
viewer but functions as a bridge to communicate with, and throughout, the audiovisual
material as an artistic act that demands an intellectual response, like an open letter to
be finalized in the viewers’ mind. The essay film does not seek to provide answers. Rather,
it asks questions to the viewer, directly or indirectly, throughout the dialogue as the core
of this filmmaking style. For the filmmaker to communicate with their viewer effectively,
they position themselves as part of the audience. The essay film strives to go beyond
formal, conceptual, and social constraint. Its structure undermines traditional boundaries,
and is both structurally and conceptually transgressive, as well as self-reflective. It also
questions the subject positions of the filmmaker and audience as well as the audiovisual
medium itself – whether film, video, or digital electronic. This work highlights the
dialogical characteristics of the essay film through a selection of essay film works with a
focus on the voiceover usage and editing characteristics, to understand how a body of
essayistic work addresses the viewer for a dialogical relationship.
Contributor Note
Citation
Önen, Naz. 2019. Essay Film as a Dialogical Form. JOMEC Journal 13: ‘Dialogue and
Communication in Film’, 93–103. https://doi.org/10.18573/jomec.188.
www.cf.ac.uk/jomecjournal @JOMECjournal
The Language of Essay Film socially involved or explicitly political. The
film essay has very similar
This section focuses on some key characteristics to the written essay form,
characteristics of the essay film to which was conceptualized by Michel de
distinguish its aesthetics and language Montaigne in his famous work from 1580
from other filmic forms. Thus, it called Essays:
examines the artistic and intellectual act
behind the construction of the essay film [Michel de] Montaigne justifies the use
to differentiate this essayistic of the word that categorize his
representation from other genres. Unlike writings, explaining that they should be
approached as tentative efforts at
the commentary and one directional
finding the truth about something. In
characteristic of the conventional this respect, the essays are quite
documentary voiceover, the voiceover of literally texts in which the essayist tries
the essay film functions as an intellectual to figure out what he or she thinks
tool to build a dialogical relationship about something based on personal
between the filmmaker and the viewer, experience. He uses the term
acting as one of the interactive features judgment that is his ability to
of the medium. conceptualize his own experience.
Therefore the essayist has a constant
The film essay is a relatively recent genre reassessment of his ideas keeping him
which was first conceptualized in 1940 from reaching and on disputable
Truth (Montero 2012, 6).
by the avant-garde filmmaker Hans
Richter in his short essay entitled ‘The
The etymology of the term essay is
Film Essay: A New Form of Documentary
related to trying out or experimenting.
Film’ as a genre that problematizes
The image of the essay as a way of
binary categories of representation of
testing one’s ideas was already present
feature and documentary form (Alter
in Montaigne's theorization of the
2003, 12). There are various discussions
form (Montero 2012, 8). From the
on defining the characteristics of the
philosophical-literary form, ‘to essay’
essay film. Such discussions also tackle
means ‘to assay’, ‘to weigh’ as well as ‘to
the essay film as a genre1. According to
attempt’, suggesting an open-ended,
Ursula Biemann (2003, 8), the essay
evaluative search, which is constrained
genre situates itself somewhere between
by the presence of individual subjectivity.
documentary video and video art. She
From this point of view, the essay form
mentions that essay films are seen as
poaches across disciplinary borders,
too experimental, self-reflexive and
transgresses conceptual and formal
subjective for documentary genre, and
norms and does not follow a clear
for an art video, they stand out for being
narrative trajectory.
1
Reda Bensmaia defines the essay as a genre Nora Alter (2003) highlights how the
which seems to flirt with all the genres without essay film self-reflexively offers its own
letting himself be pinned down and underlines film criticism. In her film The Gleaners
once more that ‘it has become practically and I (Les glaneurs et la glaneuse) made
impossible to subsume a single definitive type of
text under this term’ (Montero 2012, 5). The essay
in 2000, Agnès Varda uses a self-reflexive
is seen as a hybrid form which is recalling the method to conceptualize her work
operation of memory and dream-work (Alter through the act of ‘collecting’ while self-
2003, 12).
93
www.cf.ac.uk/jomecjournal @JOMECjournal
positioning herself as the collector of the museum workers holding the piece of
audiovisual material and as an artist. The art. Throughout this film, Varda highlights
Gleaners and I (Les glaneurs et la her own position as a filmmaker who
glaneuse) (2000) offers an intimate, collects moments on film on several
picaresque inquiry into French life as occasions.
lived by the country's poor and its
provident, as well as by the film's own
director, Varda. The aesthetic, political
and moral point of departure for Varda
are gleaners – those individuals who pick
at already-reaped fields for the odd
potato, the leftover turnip.
96
www.cf.ac.uk/jomecjournal @JOMECjournal
Due to this approach, the spectator has
more space to deal with a certain topic
without the pressure of an author
suppressing their ideas on the essay film.
On the one hand, the analysis of its
dialogic elements reveals that the essay
becomes a sort of inner speech where
the threads used by the essayist in their
meditation are laid out in full view. On
Image 6: Scene from Tokyo-Ga by Wenders the other hand, it offers the threads to
the viewer to use them for ‘measuring’
The sonic space opened up in Tokyo-Ga their own experience. This helps the
portrays Wenders’ experiences of the viewer generate new intellectual
everyday troubles of Japan throughout connections and ideas when the essay
the movie and how he places himself film provides artistic shape for
within the essay film self-reflexively as conceptualizing what they see and
the second layer of perception. In experience, using what they know or
Wenders’ words, ‘the more you watch have heard.
Japanese television, the more you feel
it’s watching you’ (see Image 6). On the The following section focuses on the
one hand, he is facing Japanese editing characteristic of the essay film,
television with an awareness of the filmic which is as crucial as the voiceover in
world, and, on the other hand, he is creating a meaningful composition.
placing the audience with an awareness
of them communicating with this
information through the audiovisual The Essayistic Montage
material. This portrays an interesting
narration since the television theme has Jean Luc Godard sees the essay film as
been used in many fiction films, such as ‘a form that thinks’ through connecting
Videodrome (1983), Old Boy (2003), different elements (Montero 2012, 1). The
Blade Runner (1982) and TV series Black essayistic character of this ‘form that
Mirror (2011). These fiction storylines thinks’ is a bond building attitude
place the television as a supporting through revealing some information,
metaphor for the narrative to deliver filled with moments of discovery for both
some information beyond this concept. the author and the viewer. The tone of
However, Wenders creates a rather the filmmaker and the intellectual act –
personal dialogue with the viewer driven by the aesthetic decisions – are
without denying his own position in not only based on cinematography and
Tokyo-Ga as a subject in front of the the soundscape; the very act of the
television. The same theme delivers author as a ‘combiner of meanings’ and
different meanings with the essayistic could be seen in an essayistic montage
approach where the meanings are not which might be presented within a non-
authoritatively established, but radically linear style. The essay film is a puzzle of
called into question, offered to the meanings, created by the filmmaker for
spectator’s reflection, and opened up to the viewer to be resolved by taking part
the new (Rascaroli 2011, 9). in the audiovisual experience, through
the received information. Therefore, the
97
www.cf.ac.uk/jomecjournal @JOMECjournal
essayistic dialogue could only be are part of the aesthetics. When
reached when the right combinations 4 someone in the film is talking about
are made with the editing. This editing migration and the incident when people
could also be a dialectic montage in had to leave their homes in a short time,
which the presented audiovisual material the scene is interrupted by glitched
does not serve a linear narrative images and digital sound manipulations.
trajectory but could be representing a This portrays an essayistic manipulation
third meaning to be revealed by the over the audiovisual material in
viewer. correlation with the core theme of
migration. Thus, the author not only
Max Bense introduces the essayist not speaks through the sound of its subjects,
only as an author but also, above all, in but also through her editing decisions.
their capacity as a combiner. The essay
is the result of the conception of
literature as an ars combinatoria in
different configurations around a
particular object (Montero 2012, 8).
Likewise, Adorno mentions how the
essay does not progress in a single
direction; instead, he believes that the
moments are interwoven as in a carpet.
The example of a carpet is essential in
the understanding of the essay form, and
it is also relevant to the film Passing
Drama (1999) by Angela Melitopulos. In
her work, Melitopulos relates the editing Image 7: Scene from Passing Drama by
process to the concept of memory, to Melitopoulos
question the incidents of her life like the
migration theme. It is possible to expand The video camera and montage can be
or compress certain fragments of time. described as a technical system that
By forming intervals, memory brings the simulates the neurological function of
past into the present, letting ‘the dead’ memory (Melitopulos 2008). At one level,
appear in ‘the living’. In the formation of the video Passing Drama is the
these intervals, Melitopulos uses the construction of a mental space in which
visual act of carpet making as the memories, active and passive forces
synonym of her conceptual act as the interact with one another, as they do in
digital montage. In her work, there are the cerebral system. Images and sounds
several references to the overall theme work as the powers of memory. Instead
of migration, and the visual references of creating a homogeneous continuity,
transitions between the different visual
and narrative levels were used in Passing
4
The right combinations are not necessarily Drama to visualize the process of
linear narratives, they have a sense of poetry
where the moments fit with one another, in an
forgetting or the awareness that
intellectual, meaning making harmony. Works like something has been forgotten (Lazzarato
Marker’s Immemory (1997) might be presented & Melitopoulos 2003, 121). According to
as interactive works in which there is not only Henri Bergson, memory is a form of
one right combination, but each act of montage accumulated time used to introduce a
offers a unique experience.
98
www.cf.ac.uk/jomecjournal @JOMECjournal
selection. Perception functions within Dialogical Relationship with the
these ‘syntheses of time’ (Lazzarato & Spectator
Melitopoulos 2003, 121). The montage
functions as a system of contracting and In her book The Personal Camera (2009),
expanding these flows of time which can Rascaroli looks at Harun Farocki’s work
be intentionally influenced because to understand the essayist as a
relations and durations of time are spectator. She mentions how Farocki
manipulated in the montage and ten positions himself as a spectator on the
seconds of material can be generated same level as the audience rather than
from one second of material. The as an enunciator or as a narrator 5
camera and montage are thus the two (Rascaroli 2009, 56). His critical
essential types of memory that Henri engagement opens up spacial
Bergson defines in his Matière et temporalities where people who get used
Mémoire (1993). With the focus on to the documentary voiceover
memory, they explain the concept manipulation can have an intellectual
behind the practice: thought process. Through several
aspects, Farocki distances himself from
We work with visual relationships and the subject matter as a strategy of
intensities generated through layering. debunking his own enunciational
We trigger a different relationship to authority to enter a dialogical
linearity that corresponds to memory. relationship with the spectator and
One speaks of intensifying images and empower them (Rascaroli 2009, 57). The
sound, of the associative potential and
new empowered spectator has the
the different connectivities of visual
relationships. This corresponds to our freedom to embrace the information
perceptual capacity, in which the given according to the subjective
power of our gaze changes things. It perception.
also corresponds to our memory,
which allows us to transform a Christa Blümlinger also focuses on
moment into hours, days or months. Farocki’s work and how it arranges new
We finally touch upon the question of images in a game of repetition and
the ecology of the mind, which shapes difference that initially confronts the
our memory (Lazzarato, Melitopoulos viewer as a puzzle. The puzzle form is
2003, 124). one of the most appropriate for the
essay film genre, since it has a very
In the following section, the text focuses similar structure and aim to a puzzle as
on the author and where he/she places a fragmentary, non-linear text that is
himself/herself in relation to the opened up to the viewer’s perception.
audiovisual material. In addition to the Blümlinger mentions how Farocki’s film
act of editing, other radical decisions, work follows the essay-film tradition of
including the essayist’s aim of extending Chris Marker (Blümlinger 2003,
authorship to the audience, will be 114) through the deployment of diverse
examined to understand the dialogical and apparently fragmentary images, a
relationship between the author and the
viewer. 5
Rascaroli sees Farocki inscribed in his film not
like a director but as a critical spectator, as a
historian of the film and the one who is located
at a temporal and ciritcal distance from the
images (Rascaroli 2009, 62).
99
www.cf.ac.uk/jomecjournal @JOMECjournal
narration which interrogates as much as imagery to reveal the hidden truth
it explains or describes those images, a behind.
constant circling back and repetition, re-
reading or re-writing of the image
(Thomas 2003, 114). Similarly to puzzles
that have many pieces which must be
unified, essay film fragments functions in
a non-linear montage that demands the
viewer’s intellectual act on the
production of meaning.
100
www.cf.ac.uk/jomecjournal @JOMECjournal
that which is not visible at a given Conclusion
moment (Blümlinger 2003, 106).
Rascaroli sees the spetator of the essay
film as the one who is invited to enter
into dialogue with the enunciator, to
follow their reasoning, and to respond by
actively participating in the construction
of meaning (Rascaroli 2011, 4). The
meaning in the essay film is not
delivered to the viewer directly; rather it
is opened6 up for a collective act, with a
dialogical attitude. When it is presented
Image 9: Scene from Images of the World for the witnessing of a director’s journey
and the Inscription of War by Farocki in many essay films, the director
positions himself right next to the
To quote Blümlinger, ‘the artist’s audience to solve things, heal traumas,
arguments are expressed in a montage or express feelings with the support of
between imagery and concept, that is, being a distanced spectator of personal
between, on the one hand, the sensory material. The author positions himself
space opened by the image trace and within the audience as a part of the
the random noises and, on the other essay film experience to stay open for
hand, abstract space generated by the further perceptions while the director
intertitles and interview passages of discovers he is the spectator of his own
offcamera’ (Blümlinger 2003, 100). film, he is on the same plane as the
Following this montage, it is possible to audience. This self positioning of the
see the part of responsibility delivered to essayist differentiate the essay form
the viewer while positioning him/her as entirely from other genres, due to the
a witness of a critical situation. Through positioning of the author and the self-
the abstraction of audiovisuals in this reflexive representation of his/her
sensory space and the very notion of worldview or concerns. The editing
witnessing, the director attempts to process and the sonic elements serve
widen the passive position of the these intellectual expectations in order
audience into an intellectual witness with to create a dialogue between the
the aim of collectively sharing the essayist and the spectator.
revealed information. Farocki’s work
opens up to a new kind of viewing in
order to discover what is hidden in the
visual material. In his work, with the
awareness of his own gaze as a creator
towards the visual material, Farocki
reflects the gaze back to the viewer.
6
Rascaroli explores the opennes of the essay
film as an interstitial space between the text on
which the essay film comments and the
audience it addresses in first-person and
essayistic nonfiction.
101
www.cf.ac.uk/jomecjournal @JOMECjournal
References
Allan, James Thomas. 2003. ‘Harun Farocki’s Images of the World and the Inscription of War’. Stuff
It: the Video Essay in the Digital Age, Institute for Theory of Art and Design Zurich (Ith), 113–
116.
Alter, Nora. 2003. ‘Memory Essays’. Stuff It: the Video Essay in the Digital Age, Institute for Theory of
Art and Design Zurich (Ith), 12–23.
Bensmaïa, Réda. 1987. The Barthes Effect. The Essay as Reflective Text. Minneapolis: University of
Minnesota Press.
Bense, Max and Timothy Corrigan. 2017. ‘On the Essay and Its Prose’. In Nora M. Alter, ed. Essays
on the Essay Film. New York: Columbia University Press, 49–59.
Bergson, Henri. 1993. Matiere Et Memoire: Essai Sur La Relation De Corps a L'esprit. Paris:
Presses Universitaires De France.
Biemann, Ursula. 2003. ‘The Video Essay in the Digital Age’. Stuff It: the Video Essay in the Digital
Age, Institute for Theory of Art and Design Zurich (Ith), 8–11.
Blümlinger, Christa. 2003. ‘Harun Farocki... The Art of the Possible’. Stuff It: the Video Essay in the
Digital Age, Institute for Theory of Art and Design Zurich (Ith), 99–112.
Lazzarato, Maurizio and Angela Melitopoulos. 2003. ‘Digital Montage and Weaving, An Ecology of
the Brain for Machine Subjectivities’. Stuff It: the Video Essay in the Digital Age, Institute for
Theory of Art and Design Zurich (Ith), 117–126.
Melitopoulos, Angela. 2003. ‘Before the Representation. Video Images as Agents in Passing Drama
and TIMESCAPES’. European Institute for Progressive Cultural Policies, May 2003. Accessed
January 1 2019. eipcp.net/transversal/1003/melitopoulos/en.
Montero, David. 2012. Thinking Images: The Essay Film as a Dialogic Form in European Cinema.
Oxford: Peter Lang.
Rascaroli, Laura. 2009. The Personal Camera: Subjective Cinema and the Essay Film. London, New
York: Wallflower Press.
Thomas, Allan James. 2003. ‘Harun Farocki’s Images of the World and the Inscription of War'. In
Ursula Biemann, ed. Stuff It: the Video Essay in the Digital Age, Institute for Theory of Art and
Design Zurich (Ith). Wien, New York: Springer, 99–111.
Filmography
Black Mirror. 2011. Created by Charlie Brooker. Channel 4 (2011–14). Netflix (2016–present).
Zeppotron (2011–13). Endemol UK.
102
www.cf.ac.uk/jomecjournal @JOMECjournal
Blade Runner. 1982. Directed by Ridley Scott. The Ladd Company/Shaw Brothers/Blade Runner
Partnership. Warner Bros.
Cameraperson. 2016. Directed by Kirsten Johnson. Fork Films and Big Mouth Productions. Janus
Films.
Images of the World and the Inscription of War. 1991. Directed by Harun Farocki. Harun Farocki
Filmproduktion.
OldBoy. 2003. Directed by Park Chan-wook. Show East. Show East (KR) and Tartan Films (US &
UK).
Passing Drama. 1999. Directed by John Harwood. Academy of Media Art, CICV Pierre Schaeffer.
The Gleaners and I (Les glaneurs et la glaneuse). 2000. Directed by Agnès Varda. Ciné Tamaris.
Zeitgeist Films.
103
www.cf.ac.uk/jomecjournal @JOMECjournal
www.cardiffuniversitypress.org
JOMEC Journal is an online, open-access and peer reviewed journal dedicated to publishing the
highest quality innovative academic work in Journalism, Media and Cultural Studies. It is published
by Cardiff University Press and run by an editorial collective based in the School of
Journalism, Media and Cultural Studies at Cardiff University, committed both to open-access
publication and to maintaining the highest standards of rigour and academic integrity. JOMEC
Journal is peer reviewed with an international, multi-disciplinary Editorial Board and Advisory
Panel. It welcomes work that is located in any one of these disciplines, as well as
interdisciplinary work that approaches Journalism, Media and Cultural Studies as overlapping
and interlocking fields. It is particularly interested in work that addresses the political and
ethical dimensions, stakes, problematics and possibilities of Journalism, Media and Cultural
Studies.
Editorial Team
Julia Boelle, Metji Makgoba, Laura Sinclair, John Tasker
www.cf.ac.uk/jomecjournal
Twitter: @JOMECjournal