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内容简介
film, and of where and how such strategies operate. Against the backdrop of Theodor W. Adorno's discussion of the essay form's anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Gilles Deleuze's understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay film can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film's disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.
作者简介
埃娃·马齐耶斯卡（Ewa Mazierska），任职于英国中央兰开夏大学，电影及媒体研究员，出版了多部电影研究论著：《波兰、捷克和斯洛伐克电影里的男性气概》、《罗曼·波兰斯基：电影中的文化旅者》、《大不列颠的重置》等。
劳拉·拉斯卡罗利（Laura Rascaroli），任职于爱尔兰国立大学。主要电影论著有：《个人摄影机：主观摄影和电影随笔》、《〈美丽人生〉之前，罗伯·贝尼尼电影里的喜剧和悲剧》。她与艾娃·马齐尔斯卡的合著还有：《跨越新欧洲：后现代之旅和欧洲流动影院》、《从莫斯科到马德里：欧洲都会，后现代电影》。
How the Essay Film Thinks是2017年由OxfordUniversityPress出版,作者LauraRascaroli。
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