Review of Essays on the Essay Film

Abstract:
Edited by Nora Alter and Timothy Corrigan, the book Essays on the Essay Film is a chronologically organized collection of writings that range from the foundational theories of Georg Luk acs, Max Bense, and Theodor Adorno, to reflections on specific films by contemporary essay filmmakers such as Ross McElwee, Ren ee Green, and Isaac Julien. The collection is in conversation with Corrigan’s 2011 book, The Essay Film: From Montaigne, After Marker, in which he speaks of the essay film by bringing in numerous cinematic, literary, and photographic examples. Released in 2017, Essays on The Essay Film contains writings by the principal figures referred to in The Essay Film, providing both a context for, and an expansion of, the former. The running theme of the collection is the elusive nature of the essay genre. In the first part of the collection, “Foundations,” it is historical context that engenders existential anxiety and gives rise to the study of the essay. The first piece of the collection, Lukacs’ “On the Nature and Form of the Essay,” responds to “a modernist crisis affecting such traditional literature as the novel, drama, and poetry, and to the arts of painting, sculpture and music.” The instability of modern identity becomes a key feature of the reactive nature of the essay. Robert Musil’s “The Man Without Qualities” speaks of the essay within the “increasingly unstable contemporary intellectual landscape,” placing the genre between a scholar’s and a writer’s search for truth. Reflected in Musil’s destabilized view of intellectual fields is the reconfiguration of identity after World War I. The “Foundations” of the collection shows how the vulnerability of subjectivity is paired with the aversion to fixed definition of the essay. Part 2, “The Essay Film throughout History,” speaks to the elusiveness of essays by rigorously taking up on the essay’s emphasis on the subjective and the conceptual. Starting with Hans Richter’s “A New Type of Documentary Film,” the essay is again reactive; Richter views the essay film as a reaction to illustrative documentary. Richter privileges intelligence as the material for the essay film, which is echoed in another piece of Part 2: “Bazin on Marker.” In the third part, “Contemporary Positions,” Alter and Corrigan trace the maturation of the essay film with writings from early 1990s to 2015. Essays in Part 3 make apparent that there is a catalogue of both essay films and theories. However, the catalogue is by no means a canon, as writers such as Phillip Lopate
Author Listing: Chae Park
Volume: 36
Pages: 81 - 83
DOI: 10.1080/10509208.2018.1450583
Language: English
Journal: Quarterly Review of Film and Video

Quarterly Review of Film and Video

影响因子:0.0 是否综述期刊:否 是否OA:否 是否预警:不在预警名单内 发行时间:- ISSN:1050-9208 发刊频率:- 收录数据库:Scopus收录 出版国家/地区:- 出版社:Taylor & Francis

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偏重研究方向 Arts and Humanities-Visual Arts and Performing Arts
期刊官网 https://www.tandfonline.com/toc/gqrf20/current
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期刊预警不是论文评价,更不是否定预警期刊发表的每项成果。《国际期刊预警名单(试行)》旨在提醒科研人员审慎选择成果发表平台、提示出版机构强化期刊质量管理。

预警期刊的识别采用定性与定量相结合的方法。通过专家咨询确立分析维度及评价指标,而后基于指标客观数据产生具体名单。

具体而言,就是通过综合评判期刊载文量、作者国际化程度、拒稿率、论文处理费(APC)、期刊超越指数、自引率、撤稿信息等,找出那些具备风险特征、具有潜在质量问题的学术期刊。最后,依据各刊数据差异,将预警级别分为高、中、低三档,风险指数依次减弱。

《国际期刊预警名单(试行)》确定原则是客观、审慎、开放。期刊分区表团队期待与科研界、学术出版机构一起,夯实科学精神,打造气正风清的学术诚信环境!真诚欢迎各界就预警名单的分析维度、使用方案、值得关切的期刊等提出建议!

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WOS期刊SCI分区是指SCI官方(Web of Science)为每个学科内的期刊按照IF数值排 序,将期刊按照四等分的方法划分的Q1-Q4等级,Q1代表质量最高,即常说的1区期刊。
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关于2019年中科院分区升级版(试行)

分区表升级版(试行)旨在解决期刊学科体系划分与学科发展以及融合趋势的不相容问题。由于学科交叉在当代科研活动的趋势愈发显著,学科体系构建容易引发争议。为了打破学科体系给期刊评价带来的桎梏,“升级版方案”首先构建了论文层级的主题体系,然后分别计算每篇论文在所属主题的影响力,最后汇总各期刊每篇论文分值,得到“期刊超越指数”,作为分区依据。

分区表升级版(试行)的优势:一是论文层级的主题体系既能体现学科交叉特点,又可以精准揭示期刊载文的多学科性;二是采用“期刊超越指数”替代影响因子指标,解决了影响因子数学性质缺陷对评价结果的干扰。整体而言,分区表升级版(试行)突破了期刊评价中学科体系构建、评价指标选择等瓶颈问题,能够更为全面地揭示学术期刊的影响力,为科研评价“去四唯”提供解决思路。相关研究成果经过国际同行的认可,已经发表在科学计量学领域国际重要期刊。

《2019年中国科学院文献情报中心期刊分区表升级版(试行)》首次将社会科学引文数据库(SSCI)期刊纳入到分区评估中。升级版分区表(试行)设置了包括自然科学和社会科学在内的18个大类学科。基础版和升级版(试行)将过渡共存三年时间,推测在此期间各大高校和科研院所仍可能会以基础版为考核参考标准。 提示:中科院分区官方微信公众号“fenqubiao”仅提供基础版数据查询,暂无升级版数据,请注意区分。

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