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To put it in Vivian Sobchack’s terms, it put me in touch with the.
I snobbishly assumed the essay to be a mere “mash-up”, a promotional trailer show, a simplistic appropriation of beloved shots, compositions, and musical interludes from the director’s distinctive canon – little did I know that the essay would address these issues head-on and completely dispel my initial doubts.
As I was watching, I realized that the essay did not aim for sheer surface-level enjoyment.
Critics with an exceptional grasp of language know how to convey the power of the movies to their readers – and there is nothing more satisfying, for a cinephile, than to replay a film in one’s mind, guided by the rich prose of a competent critic, to relive a phenomenological experience, after the fact.
But this approach, though undeniably poetic and accomplished, also operates on a certain vagueness, a lack of explicitness.
This dialogue between the film, its potential cinematic inter-texts, the author, the recipient, and numerous other para-texts, constitutes a complex hermeneutic network of consistently shifting spheres of information.
The result is not one essential meaning but a multitude of interpretative frameworks.
The video essay format engenders a form of complex authorship blending the critic’s sensibilities with those of the director in an unprecedented fashion.
The filmmaker’s work is radically re-“written”, yet this act, which admittedly constitutes an aggressive, if reverent form of iconoclasm, is not destructive.
The video essay returns the process of analysis to the “work of cinephilia, of love of the cinema”, (6) for the critic and her reader/viewer alike.
website, on closer inspection, proved to be a valuable source for these.