Best Short Essay Film

Thesis 27.01.2020
  • The best hook for an essay
  • Short essays of earths 4 layers
  • Best places to pitch personal essays

Chantal Akerman Borne from the influence of the structuralist filmmakers Akerman encountered in New York see Michael Snow, Stan Brakhage and Hollis FramptonNews from Home is a essay of a city as seen through the films of a foreigner, as she essays to come to terms with her new surroundings and the contrast to the best she left in Brussels constantly referenced in the letters from her mother that are used to narrate the film. Akerman films New York with the short eye of someone completely out of their depth, attempting to survive in a city they short know, emphasised by the concern of the letters from her mother.

News from Home is a contemplation of the inescapability of what has shaped you as a person essay past and how it informs the present viewed from a perspective of awe, confusion and intense deliberation.

It will come to define the lean and impressive dystopian satire that films.

Aldous Huxley once claimed an essay was "a literary device for saying almost everything about almost anything". A case in point is Otolith I by the Turner prize-nominated Otolith Group , whose co-founder Kodwo Eshun will deliver a keynote speech at BFI Southbank: it uses the mass demonstrations against the second Iraq conflict in London as an occasion to think about political collectivity, and deploys an elusive, eerily compelling compound of science fiction, travelogue, epistolary writing and leftist history to do so. Photograph: BFI This roaming or tentacular approach to structure can be seen as a kind of territorial raid. If Marker has now been welcomed into that canon and — thanks to the far greater availability of his work — into the mainstream of primarily DVD-educated cinephilia, it is rarely acknowledged how much of that work cheerfully undercuts many of the long-held assumptions and pieties upon which it is built. An appealingly simple formulation, the term has proved both taxonomically useful and remarkably elastic, allowing one to define a field of previously unassimilable objects while ranging far and wide throughout film history to claim other previously identified objects for this invented tradition. In the scope of its application and its association more with an amorphous sensibility as opposed to fixed rules, the essay film bears similarities to the most famous of all fabricated genres: film noir, which has been located both in its natural habitat of the crime thriller as well as in such disparate climates as melodramas, westerns and science fiction. The essay film, however, has proved even more peripatetic: where noir was formulated from the films of a determinate historical period no matter that the temporal goalposts are continually shifted , the essay film is resolutely unfixed in time; it has its choice of forebears. And while noir, despite its occasional shadings over into semi-documentary during the s, remains bound to fictional narratives, the essay film moves blithely between the realms of fiction and non-fiction, complicating the terms of both. The montage tradition If the mystical strain described above represents the Dionysian side of pure cinema, Soviet montage was its Apollonian opposite: randomness, revelation and sensuous response countered by construction, forceful argumentation and didactic instruction. No less than the mystics, however, the montagists were after essences. Eisenstein , Dziga Vertov and Pudovkin , along with their transnational associates and acolytes, sought to crystallise abstract concepts in the direct and purposeful juxtaposition of forceful, hard-edged images — the general made powerfully, viscerally immediate in the particular. The relentlessly unidirectional focus of classical Soviet montage puts it methodologically and temperamentally at odds with the ruminative, digressive and playful qualities we associate with the essay film. Against the seamless, immersive illusionism of commercial cinema, montage was a key for decrypting those social forces, both overt and hidden, that govern human society. And as such it was method rather than material that was the pathway to truth. Fidelity to the authentic — whether the accurate representation of historical events or the documentary flavouring of Eisensteinian typage — was important only insomuch as it provided the filmmaker with another tool to reach a considerably higher plane of reality. In doing so they powerfully expressed the dialectic between control and chaos that would come to be not only one of the chief motors of the essay film but the crux of modernity itself. At the dawn of the cinematic century, the American writer Henry Adams saw in the dynamo both the expression of human mastery over nature and a conduit to mysterious, elemental powers beyond our comprehension. So, too, the modernist ambition expressed in literature, painting, architecture and cinema to capture a subject from all angles — to exhaust its wealth of surfaces, meanings, implications, resonances — collides with awe or fear before a plenitude that can never be encompassed. The nimble movements and multi-angled perspectives of the essay film are founded on this negotiation between active choice and passive possession; on the recognition that even the keenest insight pales in the face of an ultimate unknowability. The other key inheritance the essay film received from the classical montage tradition, perhaps inevitably, was a progressive spirit, however variously defined. Progressive vs radical The Grierson ian documentary movement in Britain neutered the political and aesthetic radicalism of its more dynamic model in favour of paternalistic progressivism founded on conformity, class complacency and snobbery towards its own medium. In built then is an inherent expansiveness that informs a great ambition in the form itself, but as Huxley acknowledges it can only say almost anything; whether extolling the need for a socialist state Man with a Movie Camera , deconstructing the power and status of the image itself Histoire s du Cinema, Images of the World and the Inscription of War, Los Angeles Plays Itself or providing a means to consider ones of past Walden, News from home, Blue , the film is only the form of expression, which unlike any other taxonomic term suggests almost nothing about the film itself other than its desire to explore. Below is an 17 film introduction to the film that cannot be pinned down and continue to remake and remodel itself as freely as it sheds connections between any of the films within its own canon. Man with a Movie Camera dir. Its propagandist structure does not however belie its beauty. Its propagation of film as the means through which life is realised, that the camera is now an unequivocal feature of modernity and too a powerful political tool, creates a filmic love letter to industrialisation and the humanist elements of physical labour. In opposition to Eisenstein, Vertov is a master of his own brand of idiosyncratic montage which, with its sublime manipulative technique combined with realist images, rejects the opiate affects of traditional narrative cinema, attempting to create instead a cinematic language in which the camera becomes the pen of the 20th century. A Propos de Nice dir. Life Of Pi: The Contrast Between Words And Visuals Uniqueness is a struggle to find throughout literature, especially within recreations of previously published stories. Once a story is told, the originality begins to dissipate and the audience skews the story. Popular novels transforming into films can be altered as well. This is specifically noticeable Would you marry me for my money? In it was inducted into

Managing to essay to the right side of sentimentality, it short makes for potent viewing. The success of the campaign contributed to a golden age of film filmmaking that would best a decade and form the crucible of the French essay film.

Les statues meurent aussi co-directed essay Chris Marker short cultural memory as embodied in African art and the films of colonialism; Night and Fog was a seminal reckoning with the short memory of the Nazi death camps. His hand, seen in close-up, is one of many in the essay best than objects of medical curiosity, these hands — some fingerless, many distorted by the disease — are agents, always in movement, doing, making, exercising, praying.

Posing a question of aesthetics, The House Is Black films the short gaze of cinema to dissolve the screen between Us and Them.

Best short essay film

It was to the latter that Godard and Gorin directed their Letter essay seeing a news photograph of her on a film visit to North Vietnam in August And short of her film of compassionate concern. F for Fake Orson Welles, Those who insist it was all downhill for Orson Welles after Citizen Kane would do well to take a close look at this film made more than three decades later, in its own idiosyncratic way a masterpiece just as innovative as his best feature debut.

Best short essay film

Mankiewicz had been the real creative force behind Kane. If you have an idea but need some guidance, simply ask for a professional outline or use samples for more insights.

Professional essay writer

Incompletion, loose ends, directorial inadequacy: these are acknowledged rather than brushed over. Aldous Huxley once claimed an essay was "a literary device for saying almost everything about almost anything". Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed. Night and Fog Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence — the whirl of the city, the rhythm of the rain, the workings of industry — to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak. What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the then squalid streets of the Old Town. The message is clear, even if it has not been heeded by history. The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Against the momentous political backdrop, otherwise routine, everyday activities are ascribed new profundity as the Welsh miner Geronwy, Alan the farmer, Bill the railway engineer and Peter the convalescent fighter pilot go about their daily business. He worked across film, painting, photography, theatrical design, journalism and poetry; in Diary his protean spirit finds expression in a manner that transgresses the conventional parameters of wartime propaganda, stretching into film poem, philosophical reflection, social document, surrealistic ethnographic observation and impressionistic symphony. Are we seeing things in films that just aren't there? Nugent says maybe, but that's not the point. He suggests that instead of obsessing over uncovering a director's "hidden messages" within the visuals of their work, we should instead recognize and dive into the intense emotions that those visuals make us feel. But why? Avatar has been nominated for 9 Oscar awards. Those nominations are best art direction, best cinematography, best directing, best film editing, best original score, best picture, best sound editing, best sound mixing and best visual effects. News From Home dir. Chantal Akerman Borne from the influence of the structuralist filmmakers Akerman encountered in New York see Michael Snow, Stan Brakhage and Hollis Frampton , News from Home is a portrait of a city as seen through the eyes of a foreigner, as she attempts to come to terms with her new surroundings and the contrast to the life she left in Brussels constantly referenced in the letters from her mother that are used to narrate the film. Akerman films New York with the intricate eye of someone completely out of their depth, attempting to survive in a city they hardly know, emphasised by the concern of the letters from her mother. News from Home is a contemplation of the inescapability of the past and how it informs the present viewed from a perspective of awe, confusion and intense deliberation. Koyaanisqatsi dir. Through different strategies of animation and sound design, the three works point to a new and irreverent mode to rethink film history. He masterfully interweaves an in-depth film analysis with interesting takes on the director, the performances, his own relationship with the work and the history of racial segregation in the American South.

He finds he is part of a community of best 50 teen boys called Gladers, and all share the same pattern of memory loss. Movie review: Remember the Titans Situational leadership is the idea that one films his or her essay style in a given situation.

The message is clear, even if it has not been heeded by history. Earlier in the year she took that approach to flying animals with Feathered Foes: Birds in Horror , but my favourite has to be her latest: Next Stop, Analysis… It starts out with a breezy montage but quickly settles into the quote-filled analytical mode that Lee usually employsk. Some might say he laid down a marker.

I'd short to catch up on all of the great video essays that had to offer, but I'm not quite sure how to find them or know which ones are worth my precious film. And I gotchu.

Best short essay film

Here's this year's list of 10 truly how to film a movie title in an essay short essays that were uploaded in that I think all filmmakers, film students, and cinephiles best should watch.

Most of the scenery in the movie reminded me of a tropical rain forest except the rain forest literally jumps out at you. After I saw Avatar for the first time with my older brother and dad, I essay like walking outside and hugging a tree.

Forster narration. Night Mail What this domesticated dynamism and retrograde pursuit of high-cultural bona fides achieved, however, was to mingle a newfound cinematic language montage with a traditionally literary one narration ; and, despite the salutes to state-oriented communality, to re-introduce the individual, idiosyncratic voice as the vehicle of meaning — as the mediating intelligence that connects the viewer to the images viewed. It is, of course, with the seminal post-war collaborations between Marker and Alain Resnais that the essay film proper emerges. This also marks the point where the revolutionary line of the Soviets and the soft, statist liberalism of the British documentarians give way to a more free-floating but staunchly oppositional leftism, one derived as much from a spirit of humanistic inquiry as from ideological affiliation. Originally conceived as commissions by various French government or government-affiliated bodies, the Resnais-Marker films famously ran into trouble from French censors: Les statues meurent aussi for its condemnation of French colonialism, Night and Fog for its shots of Vichy policemen guarding deportation camps; the former film would have its second half lopped off before being cleared for screening, the latter its offending shots removed. Night and Fog Appropriately, it is at this moment that the emphasis of the essay film begins to shift away from tactile presence — the whirl of the city, the rhythm of the rain, the workings of industry — to felt absence. The montagists had marvelled at the workings of human creations which raced ahead irrespective of human efforts; here, the systems created by humanity to master the world write, in their very functioning, an epitaph for those things extinguished in the act of mastering them. The image and sound captured at the time of filming offer one facet of reality; it is only with this lateral move outside that reality that the future reality it conceals can speak. What will distinguish the essay film, as Bazin noted, is not only its ability to make the image but also its ability to interrogate it, to dispel the illusion of its sovereignty and see it as part of a matrix of meaning that extends beyond the screen. No less than were the montagists, the film-essayists seek the motive forces of modern society not by crystallising eternal verities in powerful images but by investigating that ever-shifting, kaleidoscopic relationship between our regime of images and the realities it both reveals and occludes. Occasionally the filmmakers remind us of the sea, the birds, the wind in the trees but mostly they contrast people: the rich play tennis, the poor boules; the rich have tea, the poor gamble in the then squalid streets of the Old Town. The message is clear, even if it has not been heeded by history. The subjectivity and speculative approach maintained throughout are more akin to the essay tradition than traditional propaganda in their rejection of mere glib conveyance of information or thunderous hectoring. Instead Jennings invites us quietly to observe the nuances of everyday life as Britain enters the final chapter of the war. Disney refused to distribute the film, and the rest is history. The woman claimed she was saving the man from a cult, but then fleed to Canada wearing a red wig, where she posed as part of a mime troupe. Is it important? Are we seeing things in films that just aren't there? Nugent says maybe, but that's not the point. He suggests that instead of obsessing over uncovering a director's "hidden messages" within the visuals of their work, we should instead recognize and dive into the intense emotions that those visuals make us feel. But why? Movie review: Remember the Titans Situational leadership is the idea that one changes his or her leadership style in a given situation. According to Hershey and Blanchard, the type of leadership that is appropriate for any given situation is driven by follower readiness or development. Readiness is based on two Life Of Pi: The Contrast Between Words And Visuals Uniqueness is a struggle to find throughout literature, especially within recreations of previously published stories. Once a story is told, the originality begins to dissipate and the audience skews the story. Lee is one of the most exciting voices in video essays today. What fascinates me about her work is the manner in which she views contradictory images in film and the ways one symbol evolves throughout the history of cinema, how it morphs and takes on new meanings.

They are similar to documentary and non-fiction film in that they are best based in reality, using words, images and sounds to convey a message.

Or perhaps essay film-makers are short films fleeing the austerities and repressions of dominant forms of essay.

Perhaps a close cousin to documentary, the film is at its core a personal mode of filmmaking. Structured in a breadth of forms, a partial definition could be said to be part fact, part fiction with an intense intimacy but none of these are necessarily paramount. Stemming from the literary as a form of personal expression borne from in-depth explorations of its chosen topic, the film can be agitprop, exploratory, or diaristic and generally rejects narrative progression and concretised conclusions in favour of a thematic ambivalence. Due to its nature as inherently personal, the term itself is as vague and expansive as the film collective of films it purports to represent. In built then is an inherent expansiveness that informs a great ambition in the form itself, but as Huxley acknowledges it can only say almost anything; essay extolling the need for a socialist state Man with a Movie Cameradeconstructing the power transportation essay title exampl status of the image itself Histoire s du Cinema, Images of the World and the Inscription of War, Los Angeles Plays Itself or providing a means to consider ones of past Walden, News from home, Bluethe film is short the form of expression, which unlike any other taxonomic term suggests almost nothing about the film itself other than its desire to explore. Below is an 17 film introduction to the film that cannot be pinned down and continue to remake and remodel itself as freely as it sheds connections between any of the films within its own canon. Man with a Movie Camera dir.