CONTENTS

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. List of Figures vii
4. Acknowledgements ix
5. Notes on the Contributors x
6. Introduction 1
7. PART ONE CINEPHILIC DIALOGUES
8. 1. The Essay Film and its Global Contexts: Conversations on Forms and Practices 21
9. 2. Essay Films about Film: The ‘Filmed Correspondence’ between José Luis Guerin and Jonas Mekas 36
10. PART TWO MOBILITIES AND MOVEMENTS
11. 3. Accented Essay Films: The Politics and Poetics of the Essay Film in the Age of Migration 55
12. 4. Cottonopolis: Experimenting with the Cinematographic, the Ethnographic and the Essayistic 70
13. 5. The World Essay Film and the Politics of Traceability 89
14. PART THREE LABORATORY OF MEMORIES
15. 6. Memory as a Motor of Images: The Essayistic Mode in Apichatpong Weerasethakul’s Variations of Uncle Boonmee 107
16. 7. ‘Time Turning into Space’: Innocence of Memories’ Prismatic Istanbul 122
17. 8. Lovers in Time: An Essay Film of Contested Memories 138
18. PART FOUR LANDSCAPES OF TRAUMA
19. PART FOUR LANDSCAPES OF TRAUMA 9. No Man’s Zone: The Essay Film in the Aftermath of the Tsunami in Japan 159
20. 10. ‘Image-writing’: The Essayistic/Sanwen in Chinese Nonfiction Cinema and Zhao Liang’s Behemoth 172
21. PART FIVE ARCHIVAL EFFECTS
22. 11. Indigenous Australia and the Archive Effect: Frances Calvert’s Talking Broken as Essay Film 193
23. 12. Between Autobiography, Personal Archive and Mourning: David Perlov’s Diary 1973–1983 in Tel Aviv 211
24. AFTERIMAGES: A PHOTO-ESSAY
25. Strangely Real: A Reassemblage from the Film Forgetting Vietnam 226
26. Index 238