Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 35 Years On: Is the ‘Text’, Once Again, Unattainable?
- 2 To Attain the Text. But Which Text?
- 3 Compounding the Lyric Essay Film : Towards a Theory of Poetic Counter-Narrative
- 4 ‘Every love story is a ghost story’ : The Spectral Network of Laurie Anderson’s Heart of a Dog (2015)
- 5 Lines of Interpretation in Fields of Perception and Remembrance : The Multiscreen Array as Essay
- 6 Deborah Stratman’s The Illinois Parables (2016) : Intellectual Vagabond and Vagabond Matter
- 7 Rethinking the Human, Rethinking the Essay Film : The Ecocritical Work of The Pearl Button
- 8 Montage Reloaded: From Russian Avant-Garde to the Audiovisual Essay
- 9 ‘All I have to offer is myself’: The Film-Maker as Narrator
- 10 The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking
- 11 The Home Movie as Essay Film: On Making Memory Posthumously
- Index
2 - To Attain the Text. But Which Text?
Published online by Cambridge University Press: 21 November 2020
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 35 Years On: Is the ‘Text’, Once Again, Unattainable?
- 2 To Attain the Text. But Which Text?
- 3 Compounding the Lyric Essay Film : Towards a Theory of Poetic Counter-Narrative
- 4 ‘Every love story is a ghost story’ : The Spectral Network of Laurie Anderson’s Heart of a Dog (2015)
- 5 Lines of Interpretation in Fields of Perception and Remembrance : The Multiscreen Array as Essay
- 6 Deborah Stratman’s The Illinois Parables (2016) : Intellectual Vagabond and Vagabond Matter
- 7 Rethinking the Human, Rethinking the Essay Film : The Ecocritical Work of The Pearl Button
- 8 Montage Reloaded: From Russian Avant-Garde to the Audiovisual Essay
- 9 ‘All I have to offer is myself’: The Film-Maker as Narrator
- 10 The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking
- 11 The Home Movie as Essay Film: On Making Memory Posthumously
- Index
Summary
Abstract
Raymond Bellour's 1975 essay ‘The Unattainable Text’ has, in recent years, enjoyed new life as a founding text of the loose, global movement devoted to the making and theorizing of audiovisual essays. Where the film-text was once unattainable to scholars and artists, now we can get our hands on it thanks to the various technological waves that were once only a distant dream. However, there are challenges in Bellour's text that are conveniently overlooked in its optimistic interpretation; in particular, the multiple meanings attached to the word text itself. Attaining this ‘text’ is not a straightforward procedure of downloading and re-editing digital files. What more is at stake that we need to make explicit today in discussing the audiovisual essay?
Keywords: audiovisual essay, Raymond Bellour, textuality, post-structuralism, montage, film theory
The Revolution Has Been Televised
Raymond Bellour's short 1975 essay ‘The Unattainable Text’ (which first appeared in English in the same landmark issue of Screen journal as Laura Mulvey's ‘Visual Pleasure and Narrative Cinema’) has, in recent years, enjoyed renewed life as a founding reference text of the loose, global movement devoted to the making and theorizing of the audiovisual essay. It has also, in a backlash action, provided the basis upon which to criticize this movement.
Where the film-text was once indomitably introuvable (Bellour's original word) to scholars and artists alike – variously unfindable, inaccessible, unreachable, unquotable, unmanipulable – now, as current wisdom declares, we can get our hands on it and do what we like with it, mainly thanks to the various technological waves (VHS, LaserDisc, DVD, Blu-ray, and, less legally, digital downloading of torrents), which were still only a distant dream for a film teacher, critic, analyst, or writer in 1975.
Drew Morton, for instance, suggests that ‘videographic film scholarship can redeem visual analysis. We can play out sequences in real time, pause upon individual frames, weave in primary and secondary research, and formalize an argument via voice-over commentary’.
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- Beyond the Essay FilmSubjectivity, Textuality and Technology, pp. 49 - 74Publisher: Amsterdam University PressPrint publication year: 2020