Freedom and possibility … a still from Grant Gee’s Patience (After Sebald) from 2011

by Sukhdev Sandhu. The Guardian, Saturday 3 August 2013

For years the essay film has been a neglected form, but now its unorthodox approach to constructing reality is winning over a younger, tech-savvy crowd.

For a brief, almost unreal couple of hours last July, in amid the kittens and One Direction-mania trending on Twitter, there appeared a very surprising name – that of semi-reclusive French film-maker Chris Marker, whose innovative short feature La Jetée (1962) was remade in 1995 as Twelve Monkeys by Terry Gilliam. A few months earlier, art journal e-flux staged The Desperate Edge of Now, a retrospective of Adam Curtis‘s TV films, to large audiences on New York’s Lower East Side. The previous summer, Handsworth Songs (1986), an experimental feature by the Black Audio Film Collective Salman Rushdie had once attacked as obscurantist and politically irrelevant, attracted a huge crowd at Tate Modern when it was screened shortly after the London riots.

Marker, Curtis, Black Audio: all have made significant contributions to the development of an increasingly powerful and popular kind of moving-image production: the essay film. Currently being celebrated in a BFI Southbank season entitled The Art of the Essay Film – curated by Kieron Corless of Sight and Sound magazine – it’s an elusive form with an equally elusive and speculative history. Early examples proposed by scholars include DW Griffith’s A Corner in Wheat (1909), Dziga Vertov’s Man with a Movie Camera (1929) and Jean Vigo‘s A Propos de Nice(1930), but some of its animating principles were identified in a key text, “The Film Essay” (1940) by the German artist Hans Richter, which called for documentaries “to find a representation for intellectual content” rather than merely “beautiful vistas”.

Essay films, unlike conventional documentaries, are only partly defined by their subject matter. They tend not to follow linear structures, far less to buttonhole viewers in the style of a PowerPoint presentation or a bullet-pointed memo; rather, in the spirit of Montaigne or even Hazlitt, they are often digressive, associative, self-reflexive. Just as the word essay has its etymological roots in the French “essai” – to try – essay film-makers commonly foreground the process of thought and the labour of constructing a narrative rather than aiming for seamless artefacts that conceal the conceptual questions that went into their making. Incompletion, loose ends, directorial inadequacy: these are acknowledged rather than brushed over.

Aldous Huxley once claimed an essay was “a literary device for saying almost everything about almost anything”. Essay films exploit this freedom and possibility, exulting in the opportunity to avoid the hermetic specialisation that characterises much academic scholarship, and to draw on ethnography, autobiography, philosophy and art history. A case in point is Otolith I (2003) by the Turner prize-nominated Otolith Group, whose co-founder Kodwo Eshun will deliver a keynote speech at BFI Southbank: it uses the mass demonstrations against the second Iraq conflict in London as an occasion to think about political collectivity, and deploys an elusive, eerily compelling compound of science fiction, travelogue, epistolary writing and leftist history to do so.

This roaming or tentacular approach to structure can be seen as a kind of territorial raid. Or perhaps essay film-makers are aesthetic refugees fleeing the austerities and repressions of dominant forms of cinema. It’s certainly striking how many essay films grapple with landscape and cartography: Patrick Keiller‘s London (1994) uses a fixed camera, a droll fictional narrator named Robinson and near-forensic socio-economic analysis to explore the “problem” of England’s capital; Los Angeles Plays Itself (2003) is an extraordinary montage film by Thom Andersen in which, sampling almost exclusively (unlicensed) clips from 20th-century cinema and with drily damning commentary, he critiques representations of his home city.

Essay films sometimes exhibit a quality of vagrancy and drift, as if they are not wholly sure of what they want to say or of the language they need to say it, which may stem from their desire to let subject matter determine – or strongly influence – filmic form. Here, as in the frequent willingness to blur the distinction between documentation and fabulation, the essay film has much in common with “creative non-fiction”. The literary equivalents of Hartmut Bitomsky, director of a mysterious investigation of dust, and Patricio Guzmán whose Nostalgia for the Light (2010) draws on astronomy to chart the poisonous legacies of Pinochet‘s coup d’etat in Chile, are writers such as Sven Lindqvist, Eduardo Galeano and Geoff Dyer. Perhaps it’s no coincidence that one of the most celebrated modern creative non-fiction authors was the subject of an equally ruminative, resonant essay film – Grant Gee’s Patience (After Sebald) (2011).

Essay film-makers – among them the Dziga Vertov Group (whose members included Jean-Luc Godard and Jean-Pierre Gorin) or the brilliant Santiago Álvarez – are often motivated by political concerns, but their work is never couched in the language of social realism or the journalistic dispatch. It is never purely utilitarian and is more likely to offer invitations to thought than clarion calls for action: Godard and Gorin’s Letter to Jane (1972) decodes at length a single still photograph of Jane Fonda on a trip to Vietnam; Black Audio Film Collective’sHandsworth Songs proposes that behind the blaring headlines of riot footage in the British media there lie the “ghosts of other stories”; Harun Farocki‘s Images of the World and Inscription of War (1988) explores the interplay of technology, war and surveillance. Essay films can be playful, but even when they are serious – as these three are – their approaches, at once rigorous and open-ended, are thrilling rather than pedagogic.

Just as literary critics used to lament that critical theory was taken more seriously in France than in the UK, the renown of essayists such as Marker, Godard and Agnès Varda (whose The Gleaners and I, a witty and moving meditation on personal, technological and socio-political obsolescence is a masterpiece) has served to obscure the range and history of British contributions to the genre: the sonically exploratory, surrealism-tinged likes of Basil Wright’s Song of Ceylon (1934) and Humphrey Jennings’s Listen to Britain (1942); Mike Dibb and John Berger’s Ways of Seeing (1972), which bears the imprint of Bertolt Brecht and Walter Benjamin; BS Johnson’s self-deconstructing Fat Man on a Beach (1973); Derek Jarman‘s exquisitely crepuscular Blue (1992), in which the director talks about and through his fading eyesight; and Marc Karlin’s resonant disquisition about cultural amnesia in For Memory (1986).

Some of these films started life on television, but these days it is the gallery sector that is more likely to commission or screen essay films, which are attracting ever more sizable audiences, especially younger people who have been weaned on cheap editing software, platforms such as Tumblr and the archival riches at YouTube and UbuWeb. Visually literate and semiotically savvy, they have tools – conceptual as well as technological – not only to critique and curate (moving) images, but to capture and assemble them. Having grown up in the era of LiveJournal and Facebook, they are also used to experimenting with personal identity in public; RSS feeds and news filters have brought them to a point where the essay film’s fascination with investigating social mediation and the construction of reality is second nature. It could well be that the essay film – for so long a bastard form, an unclassifiable and barely studied hybrid, opaque even to cinephiles – is ready to come into its own.