essay film nedir

0. Bize bir karmaşa olarak verilmiş olan gerçeklik, onu ona bize verilmiş olduğundan daha karmaşık bir biçimde iade etmemiz için bizi düşünmeye iten şeydir.

1. Belgesel, gerçekliğin bir yansıması değildir, daha ziyade yansımanın bir gerçekliğidir . Bunun anlamı, belgeselin gerçekliği yansıtmaktan çok, yansımanın gerçekliğini imlediğidir. Belgesel söz konusu olduğunda gerçeklik öz değil, imdir [sign].

2. Belgeselin işlevi belgelemek değil, belgelenen materyali ya da daha doğrusu, belgesel materyali işlemektir [process]. Materyalin belgeselliği öncül değil, çıkarımdır [implication]. Belgeleyen kişi, neden bulandan ziyade sonuca varandır.

3. Belgesel gerçekliği üretmez, türetir. Bundan kasıt, belgeleme işleminin yani filmik materyalin özsel mahiyetinin belgesel işlevinde yani filmik montajın göndergesel muhteviyatında içerilip kiplendirilmesidir. Belgeselin işlevselliği, her daim belgeleme işleminin başkalaşımsallığı uğrunadır. Salt belge diye bir şey hiçbir zaman var olmamıştır.

4. Belgeselde belgeleme işlemi dahi belgesel işlevinin tekelindedir; zira belgeyen yalnızca belgeleyen değil, aynı zamanda belgelediğini belgelemeye meyleden kişidir. Meyil, belgenin halesidir. Bir şey olarak belgeyi var ettiği kadar onu tanımlayıp niteler (ya da, buluntu filmde olduğu gibi, tanımlayıp niteleneni tanımlayıp niteler, diyelim ki belgeselin belgeselliğini tadil eder). Yönelimsellik, belgeselliğin özüdür.

5. Belgesel söz konusu olduğunda belgeleme işleminden azade bir belgelenen, kendinden menkul ve müstakil, otonom bir belge nesnesi yoktur. Kendinde [in itself] belgelenen bir şeyden söz etmek imkânsızdır; zira belgeleme işleminin kendisi hâlihazırda şeyleştirmedir [reification]. İçermiş olduğu tüm tikel şeyleri olduğu hâliyle var ederek tanımlayan tümel (ya da bütünsel) şeyleştirmedir. Belgeselin nihai işlevi de zaten budur: Belgeleme hâli, şeyleştirme pratiğidir.

6. Belgeselin şeyleştirmesi, belgelenen şeyin bir şey olarak şeyleştirilmesi değil, şeyin tam da belgelenmesi itibarıyla belgesel [documental] bir şey olarak sunulmasıdır; yani belgeseldeki şeyin kendisi, doğrudan doğruya belgeselin kendisini bir şey olarak sunmasında içerilir. (Bu açıdan belgeselde bulunan her şey belgesellik [documentality] burcu altında var olur ve bu bağlamda hiçbir şeyin bu özgül bulunmuşluktan azade bir varoluşu yoktur.) Belgesel söz konusu olduğunda şeyleştirmenin karakteri nesnel değil, görümseldir [visionary].

7. Belgeselin gerçeği [real] nesneldir; yani hâlihazırda var olan şeylere gönderir [referment]. Belgeselin gerçekliği [reality] ise görümseldir; yani hâlihazırda var olan şeylerin özgül bir görünmesini [manifestation] ifade eder. Ama yine de belgesel, bir form olarak, nesnel olana değil görümsel olana dayanır; çünkü özü gereği gerçeği görünün [vision] eleğinden geçirerek var olur ve böyle gerçekleşir [realification]. Öyleyse belgesel nesneyi belgesel görüden ayırmak ve ayırt etmek imkânsızdır. Belgeselin nesnesi, nesnenin görselliğidir [visuality].

8. Belgeselin nesnesinin yani nesnel görselliğin özü ise özneldir. Belgeselinki nesnel düşünce değil, öznel düşüncedir; yani belgeselle ve belgeselde düşünülen kendinde ve kendi için nesne değil, daha ziyade öznenin gördüğü ve duyduğu, anladığı ve bildiği, hissettiği ve düşündüğü vesaire hâliyle nesnedir. Diyelim ki öznel-nesnedir. Dolayısıyla belgeselin nesnel görselliğinin özü öznelse bile bu en nihayetinde bir tür yarı-öznelliktir; zira idealinde belgeselin imgeselliği öznenin nesneyi düşünmesi hâli ile nesnenin özneyi düşündürtmesi hâlini aynı anda yansıtır; yani belgesel, düşüncenin ne salt öznel ne de salt nesnel olan devrini, öznel-nesnel çevrimini bir sarmal olarak, içeriği gerçek (yani şu ya da bu gerçeklik kavrayışının temelinde yatan öz) olan bir imgede billurlaştırır. Bu perspektiften belgeselin gerçekliği, aslında, öznel ile nesnelin birer kategori olarak çözündüğü, iç içe geçtiği düzeyde var olur; yani öznenin düşünmesi ve nesnenin düşündürtmesi, belgesel söz konusu olduğunda, aynı işlemin iki ayrı yönünü ifade eder. Belgesel, bu ilişkiden yani deneyimleyen ile deneyimlenen arasındaki ilişkisellikten çekilip çıkarılan, çıkarsanan ve reel bir film çıktısı olarak sunulan şeydir. Gerçeğe dair filmsel bir şerh, filmik bir yorumdur; yani nesneye indirgeyici [reductive] değil, nesneyi yorumlayıcıdır [interpretive]. Belgeleyen, yorumlayandır.

9. Belgesel yorumlayıcıdır demek, belgesel kurgusaldır [fictional] demek değildir. Belgesel bir kurgu gibi göreli olmaktansa, bir deneme gibi perspektifseldir; zira belgesel gerçek ve gerçeklikle soyut ve fantasmagorik bir ilişkidense, somut ve fenomenolojik bir ilişki kurar. Bu açıdan belgesel, kurgusal olmaktan ziyade denemeseldir [essayistic]. Kurgu gerçekliğin vekili olmaya meylederken yani gerçekliği bir diğer gerçeklik, diyelim ki bir meta-gerçeklikle değiş tokuş ederken, deneme gerçekliği olduğu ve belirdiği, deneyimlendiği şekliyle kavrar ve okur. Kurgusal, gerçeklikten türetilir ve ona dolaylı olarak işaret eder. Belgesel ise gerçekliği direkt olarak yani gerçekliğe referansla türeterek üretir (yani imgesinde gerçekliği ve dolayısıyla onun duyumunu ön planda tutar) ve doğrudan doğruya onu imler. İlkinin gerçekliği gerçekliğin (yani türlü duyumsal verinin) hayali bir varyasyonuna dayanan bir kurulumken, ikincisininki gerçekliğin dolaysız bir izlenimine dayanan bir yorumdur. (Anlatısallık gerçekliğe dayatılır, belgesellik ise gerçekliğe dayanır. Anlatı gerçeğe yalnızca referans verir, belgeselde ise gerçek hammaddedir.) Kısacası, belgeselin halesi yorum, nüvesi ise gerçekliktir.

10. Belgeleme faaliyeti, bu açıdan, gerçekliğin kendini sunuş biçimini yinelemeye değil, bu biçimi yenilemeye yöneliktir. Belgesele biçimini veren gerçeklik değil, akıl [intellect] ve onunla eşzamanlı ve entegre bir şekilde var olan duygudur [affect]. Gerçeklik, belgeselin yalnızca hammaddesidir; yani akıl ve duygu tarafından yoğurulup başkalaştırılan materyaldir. Belgesel söz konusu olduğunda gerçeklik, duyarlı olunmak suretiyle dönüştürülen varlıktır [being].

11. Belgeselin gerçeklikle olan ilişkisi enformatik değil, fenomenolojiktir. Bundan kasıt, belgeselin ne salt öznel ne de salt nesnel olması, ama gerçeğin deneyimini yani gerçekçi [realist] deneyimi olduğu hâliyle mümkün kılan koşulları kısmi bir sorguya çekmesi, bu tip bir sorunsallaştırmaya dayanmasıdır. (Bu perspektiften belgesel, Husserlci anlamda bir tür görsel epoché ’dir.) Başka bir deyişle, şifrelenen [encoding] gerçekliği deşifrelemeye [decoding] yönelik olmasıdır. Bu açıdan belgeselin bilgiden çok, ilgiyle ilişkisi vardır; yani belgesel, gerçekliğe dair var olan bilgiyi ve onun gerçekliği niteleme şeklini ilgiyle soruşturan film formu ve/veya modudur.

12. Belgeselde bilginin [data] görselleştirilmesinin belgeselle bir ilişkisi yoktur. Görselleştirilen bilgi hâlihazırda belgesele dayatılan belgesellik dışı [nondocumental] yani belgeleme hâline ve sürecine mündemiç olmayan ve ondan türememiş olan bir gerçeklik algısını imlediği ve bunu yansıttığı ölçüde banal ve monoton bir belgeleme prosedürünün ve işleminin ifadesinden fazlası değildir. Belgesel bilgiyi görselleştirmenin aracı değil, daha ziyade görselliğin bilgisini yorumlamanın, bu bilgiyi yorumbilgisel [hermeneutical] bir elekten geçirmek suretiyle farklı ve farklanmış bir şekilde algılatmanın aracıdır. Enformasyonel belgesel gerçekliğe dair hâlihazırda var olan bilgiyi görsel-işitsel olarak sıkıştırmak [compress] suretiyle gerçekliğin dolayımlı ve kompakt bir hâlini üretir. Yorumsal belgesel ise gerçekliğe dair hâlihazırda sıkıştırılmış hâlde var olan bilgiyi görsel-işitsel olarak açmak [unfold] suretiyle gerçekliğin mahrem ve müphem bir hâlini, muğlak gerçekliği türetir; gerçekliği yani gerçek duygusunu belirsizlikle bürür [enfold]. Bu açıdan özsel ve ilksel hâlinde belgesel, –ki yorumsal belgeseldir bu– gerçekliğin gerçeküstücülüğünün [surreality] değil, gerçekdışılığının [unreality] bir ifadesidir. Olduğu gibi [as is] gerçeklikten her daim kaçan, ama aynı zamanda gerçekçi olan bir kaçış çizgisidir [line of flight].

13. Belgesel, gerçek olan değil, gerçeğe dair olandır. Gerçekliğin belgeselde dolayımlanmasından evvel belgesel bakışın [gaze] gerçeklik tarafından dolayımlanması yani bu dolayım vasıtasıyla tanımlanması gelir. Bu tip bir dolayımla(n)ma ise gerçekliğin direktliğini ister istemez yadsır. Belgesel, gerçekliği olduğu hâliyle olumlayarak değil değilleyerek var olur ve tam da bu yolla gerçekliği olumlar; zira bu gerçekliği yani belgeselinkini sağlayan da son kertede gerçekliğin kendisi yani onun etkisidir. O hâlde belgesel, gerçekliğe dair sözde gerçekçi söylemlerin gerçekçi olmadığını yine gerçeğe referans vererek gösterir (ve bu açıdan da yapısal olarak yani işleyiş şekli bakımından gerçekliğin mükemmel bir analoğudur). Belgeleyen, bir bakıma belgelediğini yanlışlayandır; çünkü en nihayetinde belgeleyen, belgelediği her bir şeyin niteliği itibarıyla doğru gibi gözüken verili gerçeklik değerini onlardan soyutlayabildiği ve soyutladığı için, gerçekliğin sözde doğruluğu içerisindeki gizil yanlışlığı da açığa çıkarır. (Friedrich Nietzsche’nin Güç İstenci ’nde dediği gibi: “Varoluşun karakteri ‘doğru’ değildir, yanlıştır .”) Bu, bir bütün hâlinde gerçekliğin yanlışlığı değil, gerçekliğe dair şu ya da bu fikrin gerçeklikle mutlak bir mütekabiliyet ilişkisi içerisinde ol(a)mamasından kaynaklanan bir yanlışlıktır ki kökensel hâlinde belgesel de bu yanlışlığın yanlışlık olarak doğrulanmasından başka bir şey değildir. Her belgesel, bu açıdan, sahteden [false] türer ve sahtedir [fake].

14. Belgeselin sahteliği, bir hale olarak gerçekliği kuşatan anının sahteliğinden ileri gelir. Belgeseli belgesel yapan şey bu sahtelik, yani gerçekliğin deneyiminin gerçeklikte bir gedik açabilme yetisi ve yeteneğidir. Bu açıdan belgeselin gerçekliği tarihsel olmaktan ziyade tinseldir (yani zihinsel ve zamansaldır). Belgelenen şey belgelenmek suretiyle tarihsel değil, ancak belgelenen diğer şeylerle birlikte tarihsel bir bütünlüğü tesis ve tahsis edecek şekilde kullanıldığı ve dolayısıyla temellük edildiği zaman tarihsel olur; yani deneyimi tarihselleştirme süreci dahi son kertede tinseldir. Tarih ya da tarih(in) bilinci, belgeselin gerçekliğin filtresi olarak işlettiği her daim sahte olmaya yazgılı olan anının yalnızca bir veçhesidir. Gerçeğe dair bir pratik olarak belgeselde ön planda olan şey tinsel sürecin imkân koşulları ve koşullayıcılarına –bunlar ister sosyal, ister siyasal, isterse de iktisadi vesaire olsun veya böyle düşünülsün– dair fikirler yani bu fikirlerin –belki kendileri bile birer temsilden fazlası olmayan fikirlerin– temsil edilmesi değil, kendi imkân koşulları ve koşullayıcılarıyla, hatta onların varlığıyla ilgili fikrini dahi değiştirmeye muktedir ve dünya denen şeye bakışı farklandırmaya kadir olan tinsel sürecin, bir süreç olarak tinselliğin yanlışlayıcı kuvvetinin serimlenmesidir. Bu, belgeselin özsel sahteliğidir: Gerçekliğin kendini gerçek [authentic] olarak sunması, kendini gerçek olarak sunan gerçeklikle karşılaşan belgeselcinin onu gerçeklikle yanlışlaması ve yanlışlanan gerçekliği algılayan ve alımlayan izleyicinin gerçekliğinin gerçekten değişmesi, bu her adımında belgesel olan –belgesel öncesi, belgesel ve belgesel sonrası– dizisellik, bütün bu belgesel sistem, gerçekliğin bu belgeselliği, basitçe, sahtedir. Bu, gerçekliğin paradoksal etkisidir: Bizim gerçekliği düşünmemiz hâli ile gerçekliğin bizim içimizden kendi kendisini düşünmesi hâlinin tekinsiz özdeşliği ve bu tekinsiz özdeşliğin özgül bir yansıması olarak belgesellik, sahteliktir.

15. Belgesel, gerçekliğin tekboyutlu değil çokboyutlu olduğuna işaret ettiği oranda, onun özünde sahte [inauthentic] olduğunu da onar; zira öylece gerçekliğin düşünüldüğünü değil, gerçekliğin gerçekliğinin düşünüldüğünü imler; yani bir değer olarak gerçekliğin ancak gerçekliğin gerçeklik değerinin türlü türlü hâl ve şekilde ele alınması durumunda düşünülebileceğini ima eder ki gerçekliğin temelinde siyaset, iktisat veya benzeri bir burcun veyahut bu ve benzeri burçların dayandığı yapısal bir yasanın (determinizm, teleoloji, diyalektik vesaire) bulunmamasının nedeni de tam olarak budur; çünkü bunların değeri de yine gerçeklikle ve gerçeklikte ölçülür ve bir gerçekliklerinin olduğu düşünülmediği müddetçe de hiçbir gerçeklikleri yoktur (gerçekliğin her bir burcu kendi kendine gönderir, gerçeklik ise –her durumda– bir bütün hâlinde gönderimin kendisi yani gönderimselliktir [referentiality]). Bunun anlamı, gerçekliğin türlü –teknolojik, sanatsal, tıbbi, gündelik, duyusal, travmatik, sosyal, siyasal, ekonomik, cinsel, felsefi, antropolojik, ırksal, arkeolojik, bilimsel, dilsel, bedensel vesaire olan– içerimlerinin her daim, çaprazlama bir şekilde (yeniden) düşünülmeye ve hatta değillenmeye açık olduğudur. Belgeselde ifadesini bulan yani belgeselin bir modeli olduğu ve bir hale olarak belgeselliği kökten niteleyen şey de hâlihazırda budur: Çok, çoklu ve çokluk olan şey gerçekliğin kendisidir. Bu ise şu demektir: Bir tür yaratıcı evrim olarak tanımlanabilecek olan gerçekliği karakterize eden şey tutarsızlıktan başka bir şey değildir. Son kertede gerçeklik adlı düzlem, sürekli realize ve derealize olan yani süreksizliğin sürekliliğiyle tanımlanan bir süremdir [continuum]. Diğer bir deyişle gerçeklik, aynı anda hem problem hem de teoremdir. Gizemdir.

essay film nedir

afekt , belgesel film , essay film , film , gerçeklik , Hasan Cem Çal , sinema

essay film nedir

« Sesi olduğu hâliyle yersizyurtsuzlaştırır ve bunu yapmayı da ısrarla bırakmaz Duras: Sesi filmin yabancısı kılar. »

The Best Essay Films, Ranked

What is an essay film? Let's take a look at the movie genre that replaces exciting plots with the poetry of tangled self-reflection.

In literature, an essay is a composition dealing with its subject from a personal point of view. The pioneer of this genre, 16th-century French writer and philosopher Michel de Montaigne, used the French word "essai" to describe his "attempts" to put subjective thoughts into writing. Deriving its name from Montaigne’s magnum opus Essays and the literary genre in general, essay films are defined as a self-reflexive form of avant-garde, experimental, sort of documentary cinema that can be traced back to the dawn of filmmaking.

From early silent essay films, like D. W. Griffith’s A Corner in Wheat and Dziga Vertov’s Man with a Movie Camera , to in-depth explorations from the second half of the 20th century, these are some of the best essay films ever made, ranked.

8 A Corner in Wheat

the 1909 silent film A Corner in Wheat

The 14-minute short A Corner in Wheat (1909) is considered by many to be the world's earliest essay film. Directed by filmmaking pioneer D. W. Griffith, this shot follows a ruthless tycoon who wants to control the wheat market. A powerful portrayal of capitalistic greed , A Corner in Wheat is a bold commentary on the contrast between the wealthy speculators and the agricultural poor. It is simply one of the best early short films.

7 Two or Three Things I Know About Her

Marina Vlady in Two or Three Things I Know About Her

Described by MUBI as "a landmark transition from the maestro’s jazzy genre deconstructions of the 60s to his gorgeous and inquisitive essay films of the future" (such as Histoire(s) du cinéma , Goodbye to Language , The Image Book ), 1967's Two or Three Things I Know About Her is Jean-Luc Godard’s collage of modern life.

Related: The Best Jean-Luc Godard Films, Ranked

The story of 24 hours in the life of housewife Juliette (Marina Vlady), who moonlights as a prostitute, is only a template for the filmmaker’s social observation of 1960s France, sprinkled with references to the nightmares of the Vietnam War. Whispering in our ears as narrator, Godard tells us much more than two or three things about "her," referring to Paris rather than Juliette.

6 F for Fake

Orson Welles in F for Fake

Orson Welles’ 1973 essay film F for Fake focuses on three hoaxers, the notorious art forger Elmyr de Hory who had a talent for copying styles of noted painters; his biographer Clifford Irving whose fake "authorized biography" of Howard Hughes was one of the biggest literary scandals of the 20th century; and Welles himself with his famous War of the Worlds hoax. One of the best Orson Welles films , F for Fake investigates the tenuous lines between forgery and art, illusion and life.

5 News from Home

the 1977 avant-garde documentary film News from Home

An unforgettable time capsule of New York in the 1970s, News from Home features Belgian film director Chantal Akerman reading melancholic, sometimes passive-aggressive letters from her mother over beautiful shots of New York, where Akerman relocated at the age of 21. Released in 1976, after the filmmaker’s breakthrough drama Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles , News from Home makes plain the disconnection in family, while New York and the young artist’s alienating come more and more to the front.

4 As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty

Jonas Mekas in As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty

Jonas Mekas, the godfather of American avant-garde cinema, made one of the most personal, but at the same time one of the most universal films ever. It is his 2000 experimental documentary As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty . Compiled from Mekas' home movies from 1970-1999, this nearly five-hour essay film shows the loveliness of everyday life. Footage of what Mekas calls "little fragments of paradise," the first steps of the filmmaker’s children, their happy life in New York, trips to Europe, and on and on, are complemented by Mekas’ commentary. It is a poetic diary about nothing but life.

3 Sans Soleil

cats in Sans Soleil

Directed by Chris Marker, king of the essay film , 1983’s Sans Soleil ( Sunless ) follows an unseen cameraman named Sandor Krasna, Marker's alter ego, who journeys from Africa to Japan, "two extreme poles of survival." The 100-minute poetical collage of Marker’s original documentary footage, clips from films and television, sequences from other filmmakers, and stock videos comes complete with the voice of a nameless female narrator, who reads Krasna's letters that sum up his lifetime's travels.

Like Marker's French New Wave masterpiece La Jetee , Sans Soleil reflects on human experience, the nature of memory, understanding of time, and life on our planet. It is pure beauty.

International Klein Blue

Made when the filmmaker, Derek Jarman, was dying from AIDS-related complications that rendered him partially blind and capable only of experiencing shades of blue, the great experimental film Blue from 1993 is like no other. Jarman’s 79-minute final feature consists of a single shot of one color — International Klein Blue. Against a blank blue screen, the iconic director interweaves a medley of sounds, music, voices of four narrators (Jarman himself, the chameleonic Tilda Swinton , Nigel Terry, and John Quentin), the filmmaker’s daydreams, adventures of Blue, as a character and color, diary-like entries about Jarman’s life and current events, names of his lovers and friends who had died of AIDS, fragments of poetry, and much more.

Related: 8 Must-Watch Movies From LGBTQ+ Filmmakers

A deeply personal goodbye and a sort of self-portrait, this essay film is dedicated to Yves Klein , the artist who mixed this deep blue hue and said, "At first there is nothing, then there is a profound nothingness, after that a blue profundity".

1 Man with a Movie Camera

the cameraman and the camera in Man with a Movie Camera

Dziga Vertov, one of cinema’s greatest innovators, believed that the "eye" of the camera captures life better than the subjective eye of a human. In the 1920s, he started looking for cinematic truth, showing life outside the field of human vision through a mix of rhythmic editing, multiple exposures, experimental camera angles, backward sequences, freeze frames, extreme close-ups, and other "cinema eye" techniques. This is how Vertov’s best-known film, 1929’s Man with a Movie Camera , was made. This narrative-free essay shows the kaleidoscopic life of Soviet cities. An avant-garde urban poem, Man with a Movie Camera makes clear what the beauty of cinema is.

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How the Essay Film Thinks

How the Essay Film Thinks

How the Essay Film Thinks

Professor of Film and Screen Media

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Less than a decade ago the expression "essay film" was still encountered only sporadically; today, the term has been widely integrated into film criticism, and is increasingly adopted by filmmakers and artists worldwide to characterize their work-while continuing to offer a precious margin of resistance to closed definitions. Eschewing essentialist notions of genre and form, and bringing issues of practice and praxis to the fore, this book offers a novel understanding of the epistemological strategies that are mobilized by the essay film, and of where such strategies operate. On the backdrop of Theodor W. Adorno’s discussion of the essay form’s anachronistic, anti-systematic and disjunctive mode of resistance, and capitalizing on the centrality of the interstice in Gilles Deleuze’s understanding of the cinema as image of thought, the book discusses the essay film as future philosophy-as a contrarian, political cinema whose argumentation engages with us in a space beyond the verbal. A diverse range of case studies discloses how the essay can be a medium of thought on the basis of its dialectic use of audiovisual interstitiality. The book shows how the essay film’s disjunctive method comes to be realized at the level of medium, montage, genre, temporality, sound, narration, and framing-all of these emerging as interstitial spaces of intelligence that illustrate how essayistic meaning can be sustained, often in contexts of political, historical or cultural extremity. The essayistic urge is not to be identified with a fixed generic form, but is rather situated within processes of filmic thinking that thrive in gaps.

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  • Godard and the Essay Film: A Form That Thinks

In this Book

Godard and the Essay Film

  • Rick Warner
  • Published by: Northwestern University Press

Table of Contents

restricted access

  • Title Page, Copyright, Dedication
  • pp. vii-viii
  • Acknowledgments
  • A Note on the Text
  • Introduction
  • 1. Research in the Form of a Spectacle
  • 2. A Critical Poetics of Citation
  • 3. Refiguring the Couple: Love, Dialogue, and Gesture
  • pp. 111-152
  • 4. To Show and Show Oneself Showing: Essayistic Self-Portrayal
  • pp. 153-194
  • Coda: Stereoscopic Essays for the New Century
  • pp. 195-222
  • pp. 223-254
  • pp. 255-276

Film Writing: Sample Analysis

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Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

Summary: A sample analysis of a filmic sequence that makes use of the terminology on the OWL’s Writing About Film page .

Written by Kylie Regan

Introductory Note

The analysis below discusses the opening moments of the science fiction movie  Ex Machina  in order to make an argument about the film's underlying purpose. The text of the analysis is formatted normally. Editor's commentary, which will occasionally interrupt the piece to discuss the author's rhetorical strategies, is written in brackets in an italic font with a bold "Ed.:" identifier. See the examples below:

The text of the analysis looks like this.

[ Ed.:  The editor's commentary looks like this. ]

Frustrated Communication in Ex Machina ’s Opening Sequence

Alex Garland’s 2015 science fiction film Ex Machina follows a young programmer’s attempts to determine whether or not an android possesses a consciousness complicated enough to pass as human. The film is celebrated for its thought-provoking depiction of the anxiety over whether a nonhuman entity could mimic or exceed human abilities, but analyzing the early sections of the film, before artificial intelligence is even introduced, reveals a compelling examination of humans’ inability to articulate their thoughts and feelings. In its opening sequence, Ex Machina establishes that it’s not only about the difficulty of creating a machine that can effectively talk to humans, but about human beings who struggle to find ways to communicate with each other in an increasingly digital world.

[ Ed.:  The piece's opening introduces the film with a plot summary that doesn't give away too much and a brief summary of the critical conversation that has centered around the film. Then, however, it deviates from this conversation by suggesting that Ex Machina has things to say about humanity before non-human characters even appear. Off to a great start. ]

The film’s first establishing shots set the action in a busy modern office. A woman sits at a computer, absorbed in her screen. The camera looks at her through a glass wall, one of many in the shot. The reflections of passersby reflected in the glass and the workspace’s dim blue light make it difficult to determine how many rooms are depicted. The camera cuts to a few different young men typing on their phones, their bodies partially concealed both by people walking between them and the camera and by the stylized modern furniture that surrounds them. The fourth shot peeks over a computer monitor at a blonde man working with headphones in. A slight zoom toward his face suggests that this is an important character, and the cut to a point-of-view shot looking at his computer screen confirms this. We later learn that this is Caleb Smith (Domhnall Gleeson), a young programmer whose perspective the film follows.

The rest of the sequence cuts between shots from Caleb’s P.O.V. and reaction shots of his face, as he receives and processes the news that he has won first prize in a staff competition. Shocked, Caleb dives for his cellphone and texts several people the news. Several people immediately respond with congratulatory messages, and after a moment the woman from the opening shot runs in to give him a hug. At this point, the other people in the room look up, smile, and start clapping, while Caleb smiles disbelievingly—perhaps even anxiously—and the camera subtly zooms in a bit closer. Throughout the entire sequence, there is no sound other than ambient electronic music that gets slightly louder and more textured as the sequence progresses. A jump cut to an aerial view of a glacial landscape ends the sequence and indicates that Caleb is very quickly transported into a very unfamiliar setting, implying that he will have difficulty adjusting to this sudden change in circumstances.

[ Ed.:  These paragraphs are mostly descriptive. They give readers the information they will need to understand the argument the piece is about to offer. While passages like this can risk becoming boring if they dwell on unimportant details, the author wisely limits herself to two paragraphs and maintains a driving pace through her prose style choices (like an almost exclusive reliance on active verbs). ]

Without any audible dialogue or traditional expository setup of the main characters, this opening sequence sets viewers up to make sense of Ex Machina ’s visual style and its exploration of the ways that technology can both enhance and limit human communication. The choice to make the dialogue inaudible suggests that in-person conversations have no significance. Human-to-human conversations are most productive in this sequence when they are mediated by technology. Caleb’s first response when he hears his good news is to text his friends rather than tell the people sitting around him, and he makes no move to take his headphones out when the in-person celebration finally breaks out. Everyone in the building is on their phones, looking at screens, or has headphones in, and the camera is looking at screens through Caleb’s viewpoint for at least half of the sequence.  

Rather than simply muting the specific conversations that Caleb has with his coworkers, the ambient soundtrack replaces all the noise that a crowded building in the middle of a workday would ordinarily have. This silence sets the uneasy tone that characterizes the rest of the film, which is as much a horror-thriller as a piece of science fiction. Viewers get the sense that all the sounds that humans make as they walk around and talk to each other are being intentionally filtered out by some presence, replaced with a quiet electronic beat that marks the pacing of the sequence, slowly building to a faster tempo. Perhaps the sound of people is irrelevant: only the visual data matters here. Silence is frequently used in the rest of the film as a source of tension, with viewers acutely aware that it could be broken at any moment. Part of the horror of the research bunker, which will soon become the film’s primary setting, is its silence, particularly during sequences of Caleb sneaking into restricted areas and being startled by a sudden noise.

The visual style of this opening sequence reinforces the eeriness of the muted humans and electronic soundtrack. Prominent use of shallow focus to depict a workspace that is constructed out of glass doors and walls makes it difficult to discern how large the space really is. The viewer is thus spatially disoriented in each new setting. This layering of glass and mirrors, doubling some images and obscuring others, is used later in the film when Caleb meets the artificial being Ava (Alicia Vikander), who is not allowed to leave her glass-walled living quarters in the research bunker. The similarity of these spaces visually reinforces the film’s late revelation that Caleb has been manipulated by Nathan Bates (Oscar Isaac), the troubled genius who creates Ava.

[ Ed.:  In these paragraphs, the author cites the information about the scene she's provided to make her argument. Because she's already teased the argument in the introduction and provided an account of her evidence, it doesn't strike us as unreasonable or far-fetched here. Instead, it appears that we've naturally arrived at the same incisive, fascinating points that she has. ]

A few other shots in the opening sequence more explicitly hint that Caleb is already under Nathan’s control before he ever arrives at the bunker. Shortly after the P.O.V shot of Caleb reading the email notification that he won the prize, we cut to a few other P.O.V. shots, this time from the perspective of cameras in Caleb’s phone and desktop computer. These cameras are not just looking at Caleb, but appear to be scanning him, as the screen flashes in different color lenses and small points appear around Caleb’s mouth, eyes, and nostrils, tracking the smallest expressions that cross his face. These small details indicate that Caleb is more a part of this digital space than he realizes, and also foreshadow the later revelation that Nathan is actively using data collected by computers and webcams to manipulate Caleb and others. The shots from the cameras’ perspectives also make use of a subtle fisheye lens, suggesting both the wide scope of Nathan’s surveillance capacities and the slightly distorted worldview that motivates this unethical activity.

[ Ed.: This paragraph uses additional details to reinforce the piece's main argument. While this move may not be as essential as the one in the preceding paragraphs, it does help create the impression that the author is noticing deliberate patterns in the film's cinematography, rather than picking out isolated coincidences to make her points. ]

Taken together, the details of Ex Machina ’s stylized opening sequence lay the groundwork for the film’s long exploration of the relationship between human communication and technology. The sequence, and the film, ultimately suggests that we need to develop and use new technologies thoughtfully, or else the thing that makes us most human—our ability to connect through language—might be destroyed by our innovations. All of the aural and visual cues in the opening sequence establish a world in which humans are utterly reliant on technology and yet totally unaware of the nefarious uses to which a brilliant but unethical person could put it.

Author's Note:  Thanks to my literature students whose in-class contributions sharpened my thinking on this scene .

[ Ed.: The piece concludes by tying the main themes of the opening sequence to those of the entire film. In doing this, the conclusion makes an argument for the essay's own relevance: we need to pay attention to the essay's points so that we can achieve a rich understanding of the movie. The piece's final sentence makes a chilling final impression by alluding to the danger that might loom if we do not understand the movie. This is the only the place in the piece where the author explicitly references how badly we might be hurt by ignorance, and it's all the more powerful for this solitary quality. A pithy, charming note follows, acknowledging that the author's work was informed by others' input (as most good writing is). Beautifully done. ]

Essay Danışmanlık Hizmeti - Essay Sepeti

  • Ücret Politikası

Essay Nasıl Yazılır [7 Essay Türünde Örneklerle Anlatım]

Essay’inizi yazmaya başlamadan önce, essay’e nasıl yaklaşacağınızı ve odak noktanızın ne olacağını iyice düşünmeniz gerekmektedir; bunun için de ödevin ayrıntılarını iyice anlamalısınız. Bir konu seçtikten sonra, biraz araştırma yapın ve yazmak istediğiniz ana argümanları daraltın. Ardından, essay’e başlamadan önce essay’in yapısını daha iyi kavramak için ve essay yazarken kolaylık sağlaması için bir outline hazırlamanız gerekir. Essay’de ise bir introduction, body paragrafları ve bir conclusion yazmanız gerekmektedir.

Daha önceki makalemizde essay ne demek sorusunun cevabını vermiştik, bu makalemizde de essay nasıl yazılır sorusunun cevabını arayacağız.

Bu konuda danışmanlık almak isterseniz sağ altta bulunan mesaj bölümünden, iletişim kısmından ya da  [email protected] ’dan bize ulaşabilirsiniz. Essay nasıl yazılır adım adım anlatan bu makaleyi okurken kendi essay’inizi yazmak isterseniz Essay Sepeti’nin uzman hocalarınız hazırladığı  essay outline kullanarak kendi essay’inizi yazabilirsiniz.

Artık adım adım ve detaylı olarak anlatacağımız essay nasıl yazılır makalemize başlayabiliriz.

Bir essay yazmak için aşağıdaki aşağıdaki bölümleri kullanırız:

  • Nasıl bir essay yazacağımıza karar vermeliyiz
  • Konu üzerine brainstorm yapmalıyız
  • Konuyu araştırmalıyız
  • Bir thesis statement yazmalıyız
  • Bir outline yazmalıyız
  • Son olarak essay’imizi yazabiliriz.
  • Essay’den sonra da grammer ve spelling hatalarını kontrol etmeliyiz

İçindekiler

  • 1.1.1 Essay’inizde ne yazmanız isteniyor iyice okuyun.
  • 1.1.2 Essay’in formatının ve yazma stilinin nasıl olduğunu kontrol etmeliyiz.
  • 1.1.3 Konunuzu daraltın, böylece essay’inizin net bir odak noktası olacaktır.
  • 1.2.1 Essay’inizde kullanmak için kaynaklar bulun.
  • 1.2.2 Kaynaklardan araştırma yaparken not alın.
  • 1.2.3 Yanıtlanacak bir soru veya ele alınacak bir sorun seçin.
  • 1.2.4 Essay’iniz için bir outline hazırlayın.
  • 1.3.1 Öncelikle introduction paragrafı yazmalıyız.
  • 1.3.2 Body paragrafındaki argümanlarınızı detaylıca yazın.
  • 1.3.3 Paragraflar arasında transition sentence’lar kullanın.
  • 1.3.4 Olası counter-argument’lardan bahsedin.
  • 1.3.5 Kaynaklarınızı düzgün bir şekilde belirtin.
  • 2 Essay Konuları – Essay Topics
  • 3 Argumentative Essay Nasıl Yazılır
  • 4 Opinion Essay Nasıl Yazılır
  • 5 Compare and Contrast Essay Nasıl Yazılır
  • 6 Cause and Effect Essay Nasıl Yazılır
  • 7 Problem Solution Essay Nasıl Yazılır
  • 8 Advantages and Disadvantages Essay

İngilizce Essay Nasıl Yazılır: Adım Adım Detaylı Anlatım

1. adım: öncelikle ödevde istenenlerin ne olduğunu iyice anlamalıyız., essay’inizde ne yazmanız isteniyor iyice okuyun..

Essay’inizin stili, yapısı ve odak noktası, yazdığınız essay’in türüne bağlı olarak değişecektir. Bir ders için bir essay yazmanız gerekiyorsa, essay’de istenenleri dikkatlice gözden geçirin ve essay’in hangi türde yazılacağını hakkında bilgi arayın. Birkaç yaygın essay kısaca şunlardır:

  • Cause and effect essay : Cause and effecy essay, belirli bir konunun nedenlerini ve sonuçlarını araştıran bir tür akademik yazıdır. Cause and effecy essay, konu ile ilgili mevcut kanıtları araştırır ve konuyla ilgili mantıklı iddialar geliştirmeyi amaçlar. Cause and effect essay hakkında daha fazla bilgi almak için bu konuda yazılmış ve konuyu adım adım, detaylı ve örneklerle anlatan makalemize cause and effect essay linkine tıklayarak ulaşabilirsiniz.
  • Narrative essay : Narrative essay’ler bir hikaye anlatır ve genellikle yazabileceğiniz en kişisel essay türüdür çünkü yaratıcılığınızı ve hayal gücünüzü kullanmanıza izin verirler. Narrative essay’ler, “İlk kez kendi başınıza araba sürdüğünüz zaman hakkında bir essay yazın”  veya “Bir korkunun üstesinden gelmek zorunda kaldığınız bir zaman hakkında bir essay yazın” gibi daha açık uçlu bir isteği temel alabilir. Üniversite veya lisansüstü okul başvuruları için öyküleyici bir essay (genellikle letter of intent diye anılır) göndermeniz gerekebilir.
  • Argumentative essay : Yazarın okuyucuyu kendi bakış açısına ikna etmek için kanıt ve örnekler kullandığı tartışmacı essay türü. Argumentative essay hakkında daha fazla bilgi almak için bu konuda yazılmış ve konuyu adım adım, detaylı ve örneklerle anlatan makalemize argumentative essay nasıl yazılır linkine tıklayarak ulaşabilirsiniz.
  • Critical essay : Bir şeyi (bir metin veya sanat eseri gibi) ayrıntılı olarak inceleyen eleştirel veya analitik essay türüdür. Bu tür bir essay, konuyla ilgili belirli soruları yanıtlamaya veya daha genel olarak anlamı üzerine odaklanmaya çalışabilir.
  • Informative essay : Okuyucuyu bir konu hakkında eğiten bilgilendirici makale.
  • Problem solution essay: Bu essay türünde size bir problem verilir ve bu problemi bir çözüme ulaştırmanız istenir. Eğer ürettiğiniz çözüm yollarının zorluklarından da bahsederseniz daha iyi bir problem solution essay elde edersiniz.
  • Advantage and disadvantage essay: Bu essay türü cause and effect essay türüne çok benzerdir. Bir durumun veya bir olayın avantajlarını ve dezavantajlarını karşılaştırmanız beklenir.
  • Descriptive essay: Bu essay türünde sizden bir olayı, bir durumu, bir zamanı veya herhangi başka bir şeyi tarif etmeniz beklenir.
  • Persuasive essay: Persuasive essay, okuyucuları gerçekleri kullanarak bir fikri benimsemeye veya taraf tutmaya ikna etmeyi amaçlayan essay türüdür. Bir argümanı veya amacı desteklemek için yazılan persuasive essay, okuyucuyu ikna etmek için ahlaki ve duygusal akıl yürütme tekniklerini içerebilir.
  • Process essay: Başka bir expository essay türü olan process essay, bir şeyin nasıl yapıldığını veya bir şeyin nasıl çalıştığını açıklayan essay türüdür.

Essay’in formatının ve yazma stilinin nasıl olduğunu kontrol etmeliyiz.

Bir ders için bir essay yazıyorsanız, uymanız gereken belirli biçimlendirme ve stil gereksinimleri olabilir. Aşağıdaki gibi gereksinimleri anladığınızdan emin olmak için ödevinizi dikkatlice okuyun:

  • Yazınız ne kadar uzun olmalı?
  • Hangi alıntı stili kullanılacak?
  • Kenar boşluğu boyutu, satır aralığı ve yazı tipi boyutu ve türü gibi biçimlendirme gereksinimleri nelerdir?

Konunuzu daraltın, böylece essay’inizin net bir odak noktası olacaktır.

Ödevin istediklerine bağlı olarak, zaten yazmanız gereken belirli bir konunuz olabilir veya genel bir tema veya konu hakkında yazmanız istenebilir. Essay konunuzu belirtmiyorsa, beyin fırtınası yapmak için biraz zaman ayırın. Size özel, ilginizi çeken ve üzerinde bol materyal bulabileceğiniz bir konu seçmeye çalışın.

  • Araştırmaya dayalı bir deneme yapıyorsanız, konuyla ilgili bazı ana kaynakları okumaktan isteyebilirsiniz. Bunlar hocanızın derste verdiği article’lar ya da dersin slide’ları olabilir. Essay derse ne kadar paralel olursa o kadar iyi not alır. Bilgi her ne kadar evrensel olsa da hocalar anlattıklarını kağıtta görmek isterler.
  • Critical essay için, tartışmakta olduğunuz konudaki belirli bir temaya odaklanmayı veya belirli bir pasajın anlamını analiz etmeyi seçebilirsiniz.

2. Adım: Essay’inizi Planlayın

Essay’inizde kullanmak için kaynaklar bulun..

İddialarınızı kanıt ve örneklerle desteklemenizi gerektiren bir akademik essay veya herhangi bir essay türü yazıyorsanız, essay’inizi araştırmalarla desteklemeniz gerekecektir. Konunuz hakkında doğrulanabilir bilgiler sağlayan güncel ve saygın kaynakları, akademik makaleleri, kitapları ya da peer reviewed akademik journal’ları bulmak için okulunuzun database’ine girebilirsiniz.

  • Akademik kitaplar ve dergiler iyi birer bilgi kaynaklarıdır. Basılı kaynaklara ek olarak, JSTOR ve Google Scholar gibi bilimsel veri tabanlarında da güvenilir bilgiler bulabilirsiniz.
  • Ayrıca mektuplar, görgü tanığı cronic’leri ve fotoğraflar gibi birincil kaynak belgeleri de kullanabilirsiniz.
  • Kaynaklarınızı daima eleştirel olarak değerlendirin. Saygın akademisyenlerin araştırma makaleleri bile gizli önyargılar, güncel olmayan bilgiler ve basit hatalar veya hatalı mantık içerebilir.

İpucu: Genel olarak, Wikipedia makaleleri akademik yazı için uygun kaynaklar olarak kabul edilmez. Ancak, makalenin sonundaki “Kaynaklar” bölümünde faydalı kaynaklar bulabilirsiniz.

Kaynaklardan araştırma yaparken not alın.

Konunuzu araştırırken, ilgili bilgiler, ilginizi çeken fikirler ve daha fazla keşfetmeniz gereken sorular hakkında ayrıntılı notlar tutun. Essay’inizde bulduğunuz bilgilerden herhangi birini kullanmayı planlıyorsanız, ayrıntılı olarak citation yapın. Bu, bilgiyi tekrar bulmanızı ve doğru şekilde alıntı yapmanızı sağlayacaktır.

  • Notlarınızı tek tek not kartlarına yazmayı veya bunları bilgisayarınızdaki bir metin belgesine girmek yararlı olabilir, böylece istediğiniz şekilde kolayca kopyalayabilir, yapıştırabilir ve yeniden düzenleyebilirsiniz.
  • Odaklanmak istediğiniz belirli fikirleri belirleyebilmeniz için notlarınızı farklı kategoriler halinde düzenlemeyi deneyin. Örneğin, kısa bir hikayeyi analiz ediyorsanız, tüm notlarınızı belirli bir tema veya karaktere koyabilirsiniz.

Yanıtlanacak bir soru veya ele alınacak bir sorun seçin.

Araştırmanızı yaparken, muhtemelen odağınızı daha da daralttığınızı göreceksiniz. Örneğin, cevaplamak istediğiniz belirli bir soru olduğunu bulabilir veya konunuz hakkında çürütmek istediğiniz popüler bir argüman veya teori olduğunu keşfedebilirsiniz. Bu soru veya konu essay’inizin veya ana argümanınızın temelini oluşturacaktır.

Örneğin, makaleniz eski Orta Doğu’da Tunç Çağı’nın sona ermesine neden olan faktörlerle ilgiliyse, “Geç Tunç Çağı toplumunun çöküşünde doğal afetler nasıl bir rol oynadı?” sorusuna odaklanabilirsiniz.

Ana argümanınızı özetleyen bir thesis statement oluşturun.

Essay’inizde ele almak istediğiniz belirli bir soru veya fikre ulaştıktan sonra, araştırmanıza bakın ve öne sürmek istediğiniz main point’ler veya argümanlar hakkında düşünün. Main point’lerinizi kısaca 1-2 cümleyle özetlemeye çalışın. Bu sizin thesis statement’iniz olacak. Thesis statement nasıl yazılır ayrıntılı olarak öğrenmek istiyorsanız thesis statement nedir ve nasıl yazılır makalemize bakabilirsiniz.

Bir thesis statement yazmanın kolay bir yolu, ele almak istediğiniz ana soruyu kısaca cevaplamaktır.

Örneğin, soru “Geç Tunç Çağı toplumunun çöküşünde doğal afetler nasıl bir rol oynadı?” ise. o zaman teziniz, “Geç Tunç Çağı’ndaki doğal afetler, bölgedeki yerel ekonomileri istikrarsızlaştırdı. Bu, birkaç büyük Tunç Çağı siyasi merkezinin çöküşüne katkıda bulunan yaygın çatışmalar yaratarak, farklı halkların bir dizi kitlesel göçünü harekete geçirdi.”

şeklinde yazabilirsiniz.

Essay’iniz için bir outline hazırlayın.

Main point’leri düzenlemenize yardımcı olacak bir outline hazırlayın. Net bir thesis statement oluşturduktan sonra, essay’inizde yapacağınız ana noktaları kısaca listeleyin. Çok fazla ayrıntı eklemenize gerek yok – her noktanın veya argümanın ne olacağını özetleyen 1-2 cümle, hatta birkaç kelime yazın. Her nokta için kullanacağınız kanıtları ve örnekleri ele alan alt noktaları ekleyin.

Outline nasıl hazırlanır yazımızdan da detaylıca ve adım adım outline nasıl hazırlanır öğrenebilirsiniz.

Outline yazarken, essay’inizi nasıl düzenlemek istediğinizi düşünün. Örneğin, en güçlü argümanlarınızla başlayabilir ve ardından en zayıf argümanlarınıza geçebilirsiniz. Veya, analiz ettiğiniz kaynağa genel bir bakışla başlayabilir ve ardından çalışmanın ana temalarını, tonunu ve stilini ele almaya devam edebilirsiniz.

Outline’ınız şöyle olabilir:

  • Introduction
  • Destekleyici örneklerle 1. nokta (sub-point)
  • Destekleyici örneklerle 2. nokta(sub-point)
  • Destekleyici örneklerle 3. nokta (sub-point)
  • Tezinizle ilgili başlıca karşı argüman(lar)
  • Karşı argüman(lar)a karşı çürütücüleriniz

essay-nasil-yazilir-essay-sepeti

Essay Nasıl Yazılır? Essay Sepeti

3. Adım Essay Nasıl Yazılır: Essay’i Yazma

Öncelikle introduction paragrafı yazmalıyız..

Thesis statement’inizi ve outline’ınızı yazdıktan sonra, şimdi de essay’imize bir introduction yazıyoruz. Introduction, thesis statement’iniz ile birlikte konunuz hakkında kısa ve genel bir genel bakış içermelidir. Introduction, okuyucuyu yönlendirmeye ve essay’inizin geri kalanını bağlama oturtmaya yardımcı olacak bilgileri sağlayan yerdir.

  • Örneğin, bir sanat eseri hakkında critical essay yazıyorsanız, introduction paragrafı eseri kimin yarattığı, ne zaman ve nerede yaratıldığı gibi bazı temel bilgiler ve eserin kendisinin kısa bir açıklaması ile başlayabilir. Oradan, ele almak istediğiniz çalışmayla ilgili soru(lar)ı tanıtıp thesis statement’inizi yazabilirsiniz.
  • Güçlü bir introduction paragrafı, vurgulamak istediğiniz ilk nokta veya argümana bir bağlantı oluşturan kısa bir transition sentence de içermelidir. Örneğin, bir sanat eserinde renk kullanımını tartışıyorsanız, diğer sanatçıların çağdaş eserlerinde sembolik renk kullanımına genel bir bakışla başlamak istediğinizi söyleyerek başlayın.

Body paragrafındaki argümanlarınızı detaylıca yazın.

Outline’ınızdan yola çıkarak, vurgulamak istediğiniz ana noktaların (main point) her birine değinen bir dizi body paragrafı yazın. Her paragraf, bir topic sentence içermelidir – bu paragrafınızda anlatmaya çalıştığınız konuyu kısaca açıklar. Görüşünüzü desteklemek için topic sentence inizi birkaç somut örnekle desteklemelisiniz.

  • Örneğin, topic sentence’iniz, “Arthur Conan Doyle’un Sherlock Holmes hikayeleri, P. G. Wodehouse’un Jeeves romanlarını yakından etkilemektedir” gibi bir şey olabilir. Daha sonra Sherlock Holmes’a atıfta bulunan bir pasajdan alıntı yaparak bunu destekleyebilirsiniz.
  • Her paragraftaki argümanların makalenizin ana tezine nasıl bağlandığını göstermeye çalışın.

Paragraflar arasında transition sentence’lar kullanın.

Paragraflar arasında geçiş cümleleri (transition sentence) kullanın. Argümanlarınız arasında bağlantılar veya yumuşak geçişler kurarsanız, essay’iniz daha iyi akacaktır. Her paragrafı veya konuyu bir önceki veya sonraki paragrafa bağlamanın yollarını bulmaya çalışın.

  • Geçişler oluştururken geçiş cümleleri yardımcı olabilir. Örneğin, “in addition”, “therefore”, “similarly”, “subsequently” veya “as a result” gibi kelimeler ve ifadeler kullanın.
  • Örneğin, bir sanat eserinde kontrast oluşturmak için renk kullanımını tartıştıysanız, sonraki paragrafa “In addition to color, the artist likewise employs diverse line weights to differentiate between the more dynamic and static figures in the scene”

Olası counter-argument’lardan bahsedin.

Argumentative essay yazıyorsanız, bakış açınıza karşı olan temel argümanları da bilmelisiniz. Bu karşı savları essay’inize dahil etmeniz ve onlara karşı ikna edici kanıtlar sunmanız gerekir.

Örneğin, belirli bir tür karidesin bir eşi cezbetmek için kabuğunu kırmızı alglerle süslediğini savunuyorsanız, kabuk dekorasyonunun aslında yırtıcı hayvanlar için bir uyarı olduğu şeklindeki karşı savı ele almanız gerekir. Bunu, kırmızı karidesin aslında, kabukları süslenmemiş karideslerden daha fazla yendiğine dair kanıt sunarak yapabilirsiniz.

Bir conclusion paragrafı ile essay’inizi tamamlayın.

Essay’inizi bitirmek için, essay’inizin main idea’sını ve thesis statement’inizi kısaca yineleyen bir paragraf yazmalısınız. Argümanlarınızın thesis statement’inizi nasıl desteklediğini belirtin ve ana görüşlerinizi veya argümanlarınızı kısaca özetleyin. Ayrıca hala cevaplanmamış soruları veya daha fazla keşfedilmeyi hak eden fikirleri tartışabilirsiniz.

  • Conclusion’ınızı kısa tutun. Uygun uzunluk, makalenin uzunluğuna göre değişse de, genellikle 1-2 paragraftan uzun olmamalıdır.
  • Örneğin, 1000 kelimelik bir deneme yazıyorsanız, sonucunuz yaklaşık 4-5 cümle uzunluğunda ve bir paragraf olmalıdır.

Kaynaklarınızı düzgün bir şekilde belirtin.

Başka birinin fikirlerini veya başka bir kaynaktan edindiğiniz bilgileri kullanmayı planlıyorsanız, bilgilerinizin kaynağını belirtmeniz gerekir. Bu, ister doğrudan başka bir kaynaktan alıntı yapıyor olun, ister basitçe onların kelimelerini veya fikirlerini özetliyor veya başka sözcüklerle ifade ediyor olun gerekli olan bir kısımdır.

  • Kaynaklarınızı alıntılama şekliniz, kullandığınız alıntı stiline bağlı olarak değişecektir. Tipik olarak, yazarın adını, kaynağın başlığını ve yayın tarihini ve bilgilerin göründüğü sayfa numarası gibi konum bilgilerini eklemeniz gerekir.
  • Genel olarak, ortak bilgilerden alıntı yapmanıza gerek yoktur. Örneğin, “Zebra bir tür memelidir” derseniz, bir kaynak belirtmeniz gerekmeyecektir.
  • Essay’de herhangi bir kaynaktan alıntı yaptıysanız, alıntı yapılan çalışmaların bir listesini (veya bir kaynakça) sonuna eklemeniz gerekir.

Argumentative essay,  literature essay, opinion essay, admission essay, cause and effect essay, comparison essay, persuasive essay, critical essay, deductive essay, definition essay, exploratory essay,  response essay, expository essay, informal essay, narrative essay, personal essay, research essay, scholarship essay,  classification essay gibi essay’lerin hemen hepsi bu yöntemle kolaylıkla yazılabilir.

Dolayısı ile tüm essay türleri için bu makaleyi bir essay guide gibi kullanabilir, argumentative essay nasıl yazılır, opinion essay nasıl yazılır, cause and effect essay nasıl yazılır buradan adım adım öğrenebilirsiniz.

essay-nasil-yazilir-essay-sepeti

Essay Nasıl Yazılır – Essay Sepeti

Essay Konuları – Essay Topics

En çok karşılaşılan essay konularına Modern Society, Employment, Education, Parents / Children, Gender Issues, Government, Environment, Technology gibi örnekler verilebilir. Bunların üzerine okumak ve genel kültür sahibi olmak essay yazmanızı çok kolaylaştıracaktır.

Argumentative Essay Nasıl Yazılır

Argumentative essay iki fikrin çatıştığı ve bunların bize göre iyi ve kötü yönlerini neden iyi veya kötü olduğunu anlattığımız essay türüdür. Argumentative essay nasıl yazılır merak edenler aşağıda linkini verdiğimiz yazımızdan ayrıntılı okuyabilirler.

Argumentative essay nasıl yazılır konusunda yazdığımız ve argumentative essay yazmayı basamak basamak örneklerle açıklayan makalemize tıklayarak ulaşabilirsiniz.

Ürettiğimiz fikirlere göre 2 veya 3 body yapıp conclusion kısmında da bunları tekrar kısaca ele alıp essay’imizi bitirebiliriz. On the other hand, in spite of the fact that, however gibi kelimeler argumentative essay yazarken bize yardımcı olacak kelime kalıplarıdır. Bu essay türünde danışmanlık ve destek almak için bizimle irtibata geçebilirsiniz.

Opinion Essay Nasıl Yazılır

Opinion essay nasıl yazılır merak edenlere bu bölümde yardımcı oluyoruz. Opinion essay türünde karsı tarafa empoze etmek aktarmak istediğimiz fikri akademik araştırmalara, eski olaylara ve donelere dayanarak anlatıyoruz.

Opinion essay nasıl yazılır konusunda yazdığımız ve opinion essay yazmayı basamak basamak örneklerle açıklayan makalemize tıklayarak ulaşabilirsiniz.

Daha giriş paragrafında savunduğumuz fikri açıkça vererek yazmaya başlıyoruz.  Daha sonra body paragraflarında;

  • i believe that,
  • It is worth bearing in mind that,
  • So / Therefore / As a result / Consequently / For this reason

gibi kalıpları kullanarak fikrimizi daha da güçlendirme yoluna gidebiliriz. Daha sonra fikrimizi özetleyen bir conclusion paragrafı yaparak essay’imizi bitirebiliriz.

essay-nasil-yazilir

Opinion Essay Nasıl Yazılır? – Essay Sepeti

Compare and Contrast Essay Nasıl Yazılır

Compare and contrast essay nasıl yazılır sorusunun cevabı öncekilerden farklı değildir. Bu türde zıt görüşleri karşılaştırıp bir sonuca varmaya calısıyoruz. “We will discus” kalbını introduction paragrafında kullanarak niyetimizi belirtebiliriz.

  • İlk body paragrafında görüşlerin benzeyen yönlerini,
  • İkincisinde zıtlıklarını üçüncüsünde ise ikisini karsılastırıp yeni örnekler vererek body kısımlarını bitirebiliriz.
  • Conclusion’da ise bunları derleyip önemli yerlerine dokunarak essay’imizi bitirebiliriz.

Bu essay türünde yardım almak için bizimle irtibata gecebilirsiniz.

Cause and Effect Essay Nasıl Yazılır

Cause and effect essay nasıl yazılır diye sorduğumuzda, bu türde introduction’da bir sorunu ele alıyoruz, mesela crystal meth kullanmanın sağlığımızın bozulmasına olan etkileri.

  • Birinci paragrafta c meth içmenin hayat kalitemize olan kötü etkileri,
  • İkinci paragrafta c meth’in sağlığımıza olan kötü etkileri,
  • Üçüncü paragrafta da bizi hapse attırabilecek bir uyusturucu olduğunu anlatıp
  • Conclusion’da da kısa bir özet geçtikten sonra essay’imizi bitirebiliriz.

Cause and effect essay nasıl yazılır konusunda yazdığımız ve opinion essay yazmayı basamak basamak örneklerle açıklayan makalemize tıklayarak ulaşabilirsiniz.

cause-and-effect-essay-nasil-yazilir-essay-sepeti

Cause and effect essay nasıl yazılır?

Problem Solution Essay Nasıl Yazılır

Problem solution essay nasıl yazılır diye sorduğumuzda, bu türde yazmak için yapmamız gereken birkaç basamak var.

  • Önce introduction paragrafında bir hook atıp okuyanın ilgisini çektikten sonra problemleri sıralıyoruz, kaç tane bulduysak.
  • Daha sonra body paragraflarında bu söylediğimiz sorunlara çözümlerimizi yazıyoruz ve okuyanı bu çözümler için harekete geçmeye çağırıyoruz.
  • Daha sonra conclusion paragrafında da yazdıklarımızın kısa bir özetini geçip essay’imizi bitiriyoruz.

Problem solution essay’lerinizden en iyi sonucu almak için bizden danışmanlık alabilirsiniz.

Advantages and Disadvantages Essay

Advantages and disadvantages essay nasıl yazılır diye sorduğumuzda, öncelikle, introduction’da her zamanki gibi konuyu bir hook ile anlattıktan sonra body’lerde; ilk body advantages yani iyi yanları öteki body’de disadvantages yani kötü yönlerini anlatıp bunları conclusion paragrafında summarize edip bitiriyoruz. Bunu yaparken “one of the main advantages/disadvantages”, “however”, “moreover” gibi terimleri de kullanabiliriz.

Siz de bu tür essay’leriniz için danışmanlık hizmeti almak istiyorsanız bizimle iletişim sayfadasından iletişime gecebilir, ya da aşağıdaki mesaj eklentisi aracılığı ile mesaj atabilirsiniz.

4 thoughts on “ Essay Nasıl Yazılır [7 Essay Türünde Örneklerle Anlatım] ”

hocam thesis yapısı bir essay türünden ötekine fark eder mi? ederse nasıl eder? Sağolun şimdiden.

Yılmaz merhabalar,

Evet ediyor. Mesela argumentative essay’de karşıt görüşü de thesis statement’te geçirmek thesis’imizi güçlendirecektir. Aynısı opinion essay için de geçerli. Sadece savunduğumuz görüşü anlatmamalıyız thesis yazarken.

Çok sağolun çok işime yaradı : )

Buna sevindik Leyla Hanım, öteki yazılarımızdan da her essay türü nasıl yazılır ayrıntılı olarak öğrenebilirsiniz.

Comments are closed.

The best video essays of 2021

Introspection and the act of watching emerged as recurring themes across a year in which video makers responded to the realities of a continuing pandemic. Our poll of 30 video essayists, academics, critics and filmmakers highlights 120 recommendations.

18 January 2022

By  Ariel Avissar , Cydnii Wilde Harris , Grace Lee

Sight and Sound

After ‘Year of the Virus 2: 2 Metres 2 Vaccines’, it’s no surprise that we’re presenting yet another poll inevitably marked by isolation and fatigue.

There have been numerous developments and projects of note, continuing the previous year’ s theme of collaboration. There’s been the forming of Video Essay: Futures of Audiovisual Research and Teaching , an academic research project led by Johannes Binotto at Lucerne University in collaboration with the University of Zurich, which has produced some fascinating work this year; the One Villainous Scene collaboration, for which Nando v Movies gathered 230 essayists on YouTube to explore their favourite villains; the TV Dictionary collection, for which 20 essayists followed Ariel Avissar’s open invitation to dabble in videographic ruminations on television series; and two more volumes of the Essay Library Anthology, ‘micro-essay compilations’ by members of the Essay Library Discord community, touching on the very relevant themes of ‘time’  and ‘death’ .

This year also saw the return of several big names, such as Taylor Ramos and Tony Zhou (the team behind Every Frame a Painting ) in their contributions to Netflix’s Voir series, and Mike Rugnetta (former host of Idea Channel ), who began uploading essays to a personal account .

But even amid these excellent projects, not only have video makers continued to struggle within the realities of a continuing pandemic, even poll voters have been down from previous years, suggesting that many of us have struggled with not only finding the time to make but also finding the time to watch video essays this year.

That being said, many of the videos that have been made and watched seem to have turned their attention towards the very act of watching, a trend that’s perhaps unsurprising given the amount of time we’ve all been afforded with ourselves this year. Left to our own devices, it’s only a matter of time before we begin to look inward, and thus introspection marks a clear theme in this year’s most talked-about videos. This result may be even more inevitable than any undercurrent of fatigue or isolation, as what would a group of video essay enthusiasts love more than essays about essays and videos about videos.

There’s no shame in a little indulgence this year.

Trends and numbers

Of the 30 contributors to the poll this year (down from 42 last year), 20 are male, 9 are female and 1 is non-binary. Two thirds of them are based in Europe, one third in the USA . They are video essayists, academics, critics and filmmakers. They submitted a total of 178 votes, for 122 unique entries that span online video essays, essay films, documentaries, installations, television series and Twitter threads. These works were made – or published – this past year, by both established essayists and newcomers to the field; they range from 20 seconds to 6 hours in length, with the average length above 22 minutes (5 minutes longer than last year’s average).

Practices of Viewing , “a video essay series on new media and their many old histories” by Johannes Binotto, was the top-mentioned item, receiving a total of 13 mentions (of either the series as a whole or several individual entries). Also of note were: the collaborative TV Dictionary collection, which received 7 mentions (of either the project as a whole or of various individual entries); Screening Room: On Digital Film Festivals by Jessica McGoff (6 mentions); and What Isn’t a Video Essay? by Grace Lee (5 mentions). As previously stated, most of these are devoted to an exploration of the subject of video essays or videographic criticism and of various practices of consuming, engaging with and reacting to media images. This trend also extends to Max Tohline’s A Supercut of Supercuts (4 mentions), Cristina Álvarez López and Adrian Martin’s Videography 1978 (4 mentions), and several other entries featured on the poll.

Of the essayists whose work is featured, 38% are female (up from 33% last year, and 24% the year prior) and 50% are male (down from 53% last year, and 68% the year prior), with the remaining 12% made by mixed-gender teams or non-binary essayists.

The videos are overwhelmingly presented in English (95%) and are predominantly from the US (36%) and the UK (22%), followed by 23 other countries (mostly in Europe), marking a gradual rise in the number of countries featured in the poll. The dominant focus in terms of medium, though somewhat less so than in previous years, remains film (63% of videos), with television a more significant – though still distant – second (13% — up from 5% last year). 23 of the videos (or 19%) were published in various online academic journals, primarily [in]Transition (10 entries) and Tecmerin (5 entries).

Besides voting for their favourite video essays of the year, contributors were also given the option to suggest video essayists to be featured on our new ‘Emerging voices’ section, which seeks to spotlight new makers of note, whose work this year was significant or impactful, and who are well worth keeping an eye on in the following years.

Emerging voices

This year has been one not just of self reflection, but of discovery. In light of all the discoveries we’ve been making, we wanted to use this year’s poll to spotlight new voices who have emerged this year. We asked our peers to submit individual essayists that they believed had truly struck out anew this year, be that through debuting their first works, or by significantly expanding their own profiles.

One journey many of us can relate to is that of finding our voice throughout our academic progression. Many of our emerging voices are students whose works originally developed as academic assignments. Emily Su Bin Ko, from the University of Massachusetts, was one such creator. For her latest piece, the pointed videographic exploration Citizen Kane: Transcending Bazin’s Dichotomy , she was singled out by both Barbara Zecchi and Adrian Martin as having demonstrated her analytical talent, an engaging style and a thought-provoking voice.

Another was Niki Radman from the University of Glasgow, who made her debut this year with the video essay eye/contact , and was noted by Ian Garwood. The piece explores the work of Barry Jenkins through a critical supercut, and demonstrates an exciting mastery of the form and an ability to poetically communicate her ideas.

Matthew Smolenski from the University of Warwick was suggested by Katie Bird as another newcomer of note for their video essay Here, There and Everywhere: Movement in the Beatles’s Fiction Filmography , which deftly addresses movement and sound on screen through the context of the Beatles’ filmography.

Myrna Moretti from Northwestern University was also praised by Katie Bird. Her work, Friends from TV on the Internet , made for the Desktop Documentary Seminar at SCMS 2021, manages to be both lighthearted and poignant as it explores fandom, nostalgia, and climate anxiety.

Not all submissions received were discovered through traditionally academic spaces. Some were video essayists who have been accruing greater audiences on YouTube. Maia, known as Broey Deschanel , was put forth by Dan Schindel for her well-researched and thoughtful analysis of pop culture subjects. Her works on Sofia Coppola and Love Island were mentioned specifically, and while she has been working steadily since 2018, her work of this past year has been exceptional.

Yhara Zayd was also recognised by Dan Schindel for the uniqueness of her topics and the finesse of her analyses. Since 2019, she’s been creating thoughtful and original critiques on everything from Skins US to Reefer Madness (1936), and an acknowledgement of her work is well-deserved.

Corinth Boone is a cartoonist, animator, and now video essayist, with the debut of her piece, So I Decided to Watch All the Lupin III Movies . She was specifically hailed by Shannon Strucci for her wit, editing skills, and the well-researched manner of the work.

Finally, Sophie from Mars was suggested by Grace Lee. While she has been successfully analysing media and culture for many years now, Sophie was specifically heralded for the achievements of their work of the last year, the skilful honing of their visual style, and an affecting personal point of view.

Growth is a term that is wholly dependent on context. Thus, the creators selected for this emerging voices section represent the diversity of the videographic community itself, and we’re pleased to share each of their stories.

All the votes

Film theorist, curator and occasional video essayist, Charles University in Prague and Národní filmový archiv

Screening Room: On Digital Film Festivals by Jessica McGoff

Throughout the pandemic, I have become fascinated with the idea of extending the screen-mediated experience of the world beyond the actual computer or smartphone interface. Chloé Galibert-Laîné already explored this notion in 2020’s Forensickness ; this year, Jessica McGoff utilised the ‘desktop cinema without the desktop’ approach to reflect on attending digital film exhibitions within the spatial monoculture of her apartment. A paper-made quasi-cinematic dispositif crushed by an intervention of a fluffy cat is only one of the many playful experiments McGoff stages to invent new ways in which we can exploit the limitations of the pandemic against the grain.

The Elephant Man’s Sound, Tracked by Liz Greene

One of the great potentialities of videographic criticism is giving insight into the research process in all of its stages and facets. Yet, rarely do videographic essays delve into such meticulous depth as Greene’s investigation of her ongoing encounters with The Elephant Man’s soundtrack. One minor detail – a strangely cleaned-up line of dialogue – serves as a MacGuffin that sparks a journey across often obscure or intimate research artefacts and software interfaces. The essay highlights the alignment between research and post-production as material processes whose gaps, fissures, and excesses tell their own stories.

The Thinking Machine #48: Videography 1978 by Cristina Álvarez López and Adrian Martin

Examination of continuities and discontinuities between analogue and digital images is another area where videographic criticism thrives. Besides the works of Johannes Binotto, whom I mentioned in previous polls and who continues this line of work in the Practices of Viewing series, a moving autobiographical essay on films as material artefacts was created by López and Martin. Videography 1978 offers a fresh look on the ‘unattainable object’ issue, highlighting, for example, the non-identity of analogue and digital frames. The essay testifies that despite the (often justified) criticism, cinephilia as a mode of watching and analysing films remains relevant.

Mediated Auscultation by Emilija Talijan

Out of this year’s essays published in [in]Transition, Talijan’s exploration of the relationship between cinema and the stethoscope resonated most closely with me. I generally appreciate when videographic works reach toward a broader context of audiovisual culture, particularly of its very origins, and Mediated Auscultation finds the proper equilibrium between structured argumentation and formal experimentation. The stethoscope’s technological possibilities deconstruct the audiovisual unity of film back into a multiplicity of deranged, often impenetrable images and sounds, with a nerve-racking heartbeat rhythm always hovering around.

Train Again by Peter Tscherkassky

Once again, my list would not be complete without at least one experimental found footage film. Tscherkassky’s treatise on the ever-present bond between trains and cinema overflows with allusions to early cinema and the avant-garde, yet achieves to marry the old with the always already new. The Austrian artist’s vintage analogue deformations join forces with digital pixelation to show the train-image for what it is – a constantly trembling and crumbling entity on the verge of destruction and rebirth.

Ariel Avissar

Video essayist and media scholar at Tel Aviv University

Viewing the world outside from the comfort/prison of her room, McGoff offers a perceptive meditation on contemporary ways of seeing that is as irreverent as it is reverent. Quintessential viewing for the pandemic era. Make this a double feature with McGoff’s My Mulholland from last year, which likewise investigates the superimposition of online and offline experience.

I am Sitting in a Room, Listening to Mank by Cormac Donnelly

Sitting in a different room, Donnelly offers a sonic counterpoint to McGoff’s, offering a fascinating examination of the sonic soundscapes that envelop us all as we sit, in our own rooms, watching and listening (though perhaps not listening as attentively as we ought to). Make this a double feature with Donnelly’s Sonic Chronicle Post Sound from last year, which investigates (diegetic) sonic soundscapes.

Practices of Viewing by Johannes Binotto

Like McGoff and Donnelly, Binotto’s fascination is with the way we interact with images and sounds, and this phenomenal series, consisting of five entries to date, is a must-watch for anyone interested in the way technology mediates images and sounds, and the possibilities it opens up for interfering with and complicating its own mediation. My personal favourite is the one on screenshots , but it’s dealer’s choice, really. Make that last one a double feature with Cristina Álvarez López and Adrian Martin’s Videography 1978 , Binotto’s explicit source of inspiration, which also explores technologies of viewing – and their pre-digital antecedents.

Irani Bag by Maryam Tafakory

Made as part of the Monographs  series of essays on Asian cinema commissioned by the Asian Film Archive last year, which is finally available online now, Tafakory’s soulful and mesmerising video employs excerpts from 24 Iranian films to interrogate the ways in which a handbag can serve as a surrogate for bodily contact, enabling the performers to “touch without touching”. Make this a double feature with Tafakory’s longer essay film follow-up, the upcoming Nazarbazi ; it is a meditation on the subject (and absence) of touch in Iranian cinema that is powerful, reflective and, yes, touching.

A History of the World According to Getty Images by Richard Misek

Misek offers a thoughtful and ever-timely exploration of the ways in which commercial archives mediate – and commodify – our access to the past, and offers a mode of resistance in the form of a direct intervention. Be on the lookout for it when it comes out sometime next year; in the meantime, whet your appetite with this shorter, early iteration of the project titled Captured Images , which can serve as a sort of trailer for the longer film – and also stands on its own.

Mad Men ’s ‘Babylon’  by Ariane Hudelet

Hudelet patiently and diligently traces multiple intertextual threads offered by a song featured on an early episode of Mad Men, presenting the kind of thorough, insightful and enjoyable analysis that I, for one, would love to see dedicated to more works of television in videographic form. On that note, make this a double feature with Occitane Lacurie’s Prendre conscience / perdre connaissance , a fascinating desktop examination of intertextual relations between Westworld and Last Year at Marienbad.

A Supercut of Supercuts: Aesthetics, Histories, Databases by Max Tohline

And finally, Tohline’s epic, feature-length reflection on the supercut is a comprehensively impressive (or impressively comprehensive?) investigation of one of the digital age’s most viral videographic genres. Over its 130 minutes, Tohline examines the supercut’s aesthetics, structures and effects; its complex and multiple contexts and histories; and its relation to technology and ideology, as a simulation of database logic. The analysis is coherent and persuasive, and the diverse perspectives are highly informative and enriching. No need for a double feature on this one (though I dare you not to look up any of the numerous supercuts sampled in the video).

Johannes Binotto

Lecturer in media and cultural studies, video bricolageur, leading videoessayresearch.org

I feel absolutely unable to have an overview of what work has been done in the field throughout this year. Instead the video essays on my list are all works that I came across not because I was searching for them but purely by accident, strangely in-between, and when I least expected them. Each of them hit me sideways so much that I still don’t want to recover from what they did to me.

How to Perform Teaching During a Pandemic Spring Session, 2020: GENDER STUDIES , Rain & Cats Cut by Dayna McLeod

I was watching Dayna McLeod’s haunting take on Lynch’s Wild at Heart when I came across this other piece that perhaps many would not even consider a video essay. McLeod performs the performance of someone who has to perform gender studies (and its interest in performance) under the circumstances of COVID remote teaching and being constantly interrupted. This is really wild, unpredictable, intellectual, clever, very funny, but – and this gets me the most — so extremely touching in its acknowledging one’s own awkwardness and vulnerability. We always joke about the things that hurt us most.

3 x Shapes of Home by Elisabeth Brun

What would seem as a purely conceptual and abstract research on how to investigate landscapes through different film practices turns out to be like a poem by Whitman, encompassing the most intimate and the most universal. A film in which the sudden freeze of an image and the humming of the filmmaker cuts me so much I start to cry. A crab gently poking at the camera is a sight I will keep dreaming of.

RETOURNE - TOI (Reading Ovid’s ‘Orpheus & Eurydice’ in Portrait of a Lady on Fire) by Catherine Grant

I thought I already knew this video but when seeing it during a workshop I was shocked by how much it affected me. It left me overwhelmed yet at the same time made me want to work myself in exactly this state of overload. I guess I heard the Althusserian interpellation in the title. And it is fitting that I had to return to this video to find out its unique power since it is about the hypnosis of repetition, both on narrative and formal level.

The Conversation is the Confessional by Max Tohline

I probably should have picked Max’s incredible jumbo jet of a video essay on the supercut, but this one means a lot to me because it is among many things also a personal present. Seeing a collection of video essays students of mine made on The Conversation, Max not only fell in love with them but wanted to join our group by contributing his own thoughtful, sensitive, and complex analysis of the religious under- under overtones in this film. Like a confession of its own. What a gift!

The Archival In-Between by Evelyn Kreutzer and Noga Stiassny

I don’t know how to talk about this one because it attempts what must remain impossible, approaching the unapproachable. It uses archival material that I am not sure anyone should ever use again but of which I am also convinced that it must be seen. The video’s impossibility seems to me the impossibility of the archive per se Foucault wrote about. So how then even to begin to make this video? It gives no answer but begins and remains beginning. Like the crackling noise on the soundtrack: a needle in the empty grooves of a record before the music starts.

Vertigo - Making Space. A 3D Video Essay by David Bucheli

Who hasn’t fantasised of seeing Vertigo in 3-D? David’s video fulfils the dream but does so by rendering it a disturbing nightmare. There are moments when the 3-D-effect works as one would think it is supposed to, giving us Scotty and Madeleine as seemingly graspable bodies but even more fascinating are those moments when the images we see on left and right eye no longer align but completely diverge, fall apart, splitting your consciousnesses in half. The longer I watch the more I fear this video will damage my brain irrevocably.

TV Dictionary —  On Becoming a God in Central Florida by Clair Richards

This was a triple surprise. A video on a series I had never heard of before by an essayist I hadn’t known before focusing on a term I never cared about before. Watching admiring the scene it picks and how it dances together with the text I ask myself: What is the strength of a video essay? For me it’s not tech-savviness nor the amount of material or concepts it works with. I think it’s rather the willingness to make yourself be seen doing something you haven’t yet nor ever will have mastered. It’s not a confidence thing.

Assistant professor, communication, University of Texas at El Paso

The Elephant Man ’s Sound, Tracked by Liz Greene

Greene’s video leads the viewer through a unique historical investigation of initial discovery, possibility, and lingering questions in a way that allows the viewer to feel how answers to a production’s history are many, and regularly conflicting. Unlike most historical presentations that simply point at the ‘evidence’, Greene allows us to literally ‘search’ and ‘flip the pages’ alongside. Greene focuses on equivocation, back tracking, and talking around, and what is largely left unsaid in many of the interviews. This project cuts around auteurism, without being a critique and articulates Splet amongst a larger set of industrial and and national forces.

Long Take, Pop Song by Ian Garwood

Nothing brought me more joy this year than this little pop diddy composed by Garwood and sung by Anna Miles ear-worming its way into my daily thoughts. Beyond the catchiness of the tune that directs this video on the important of pop music in a scene from Before Sunrise, Garwood brings in a pop aesthetic to the video with the use of animated and freeze frames, turning the conceit of the Before Trilogy into a comic book that takes place within the span of a pop song. It is a delight and a treat to see criticism have fun.

From now on, I won’t be able to watch Jeanne Dielman without also seeing McGoff’s own sink. This moment where a small scene of washing dishes floats about McGoff’s sink (the lines of the tiles almost matching) last only 6 seconds, but the gesture speaks to the intimacy and vulnerability of McGoff’s style. Her now signature approach to desktop, combined anew with the casual recordings of daily life (the record, the cat, the windows, the screens, the screens, the screens) offers a critical and personal glimpse into something that felt/feels all too familiar over the past years.

The TV Dictionary project by Ariel Avissar and various

Ariel Avissar’s TV Dictionary project was enormously generative for my own thinking about what diverse and creative experiments could be produced out of a simple prompt. I was inspired to create my own lists of terms and shows I would apply them to, and though I never made one, this speculative edit was a thrill. There’s too many videos to celebrate. But Libertad Gills and Juan Llamas Rodriguez tapped into the layering of their terms ‘ experience ‘ and ‘ comfort ’: how their shows feel to viewers and what is felt between characters in a moment or shared series of moments.

Beyond inspirational, and field changing, nothing made me want to throw in the towel on making more than seeing Binotto’s playful, critical, and incisive video series Practices of Viewing. Each one challenged our ways of ‘seeing’ and making, each one carefully bringing in new techniques to test the boundaries and possibilities of videographic form. But whatever trepidation I felt, was always overshadowed by the openness and curiosity that grounded each of Binotto’s experiments and his welcomeness as a videographic maker joyfully throwing out these gambits for the rest of us to up our games. But, MASK did me in.

Mourning with Minari by Kevin B. Lee

I’ll need to sit and rewatch Lee’s video essay many more times before I’ll have words good enough to match his evocative “gathering of images” of grieving through making, of holding space, and of breathing this memorial into being. By walking us through Minari, Lee leaves room for the questions trauma and white supremacist violence has left in its wake. By showing what has been made invisible, Lee similarly works through what it means to “manage the politics of presence” in the film and in US visual culture writ large, not to see these images as ‘empty’ but as open

De la femme by Caterina Cucinotta and Jesús Ramé López.

Stitching and Cutting, Stitching and Cutting, Stitching and Cutting! The repetition and overlap of the manual labor of production (seamstresses and editors) woven together with the metaphorical and literal fabrics of the film: its costumes and film strips. A gorgeous meditation on the gendered craft work of Hollywood production using both scraps of fabric and trims of film: materials on display and also what is not meant to be seen. The multi-screen side-by-side creates simple unexpected patterns and delightful sonic parallels to the sewing machine and the editor’s splicing. With these workers we get close in, slow down, and reconfigure.

Steven E. de Souza

It’s a Christmas movie. Bylines: @nytimes @LosAngelesTimes @EmpireMagazine @FadeInMagazine @SightSoundMagazine

Listening to Toy Story by Andrew Saladino (The Royal Ocean Film Society)

The almost purest representation of a literal ‘moving picture’, animation’s inevitable accommodation of sound would seem an afterthought hardly worth a thought, its early scores dismissed even by its applicants as ‘mickey mousing’. A century on, any imagined deficiencies of bandwidth inherent in the medium compared to live action demands sound loom even larger in its duty to inform and enhance a narrative.

Here’s Why Movie Dialogue Has Gotten More Difficult to Understand (And Three Ways to Fix It) by Ben Pearson (Slashfilm)

After nodding my head sagely at Andrew Saladino’s essay how diligently animation endeavors to add depth, clarity and content to its simulacrum of reality, I’m now shaking it in dismay at Pearson’s analysis of live action’s race in the opposite direction, coupled with minor relief that it’s not just me, I don’t actually need a hearing aid.

The Coolest Stunt You’ve Never Heard Of by Adam Tinius (Entertain The Elk)

It’s the rare filmmaker who didn’t start down the storytelling path in childhood, in backyards populated by cops n’ robbers, cowboys, pirates, and — most of all — imagination. Sometimes less is more, and we were right all along: simply pretending may be the best trick of all.

Golden Ratio in Cinema by Walter Murch

Mind Blown.

The Aesthetics of Evil by Lewis Michael Bond and Luiza Liz Bond (The Cinema Cartography)

Where would we be without our villains? (I know where I’d be, still teaching ESL at John F. Kennedy Junior High School in Willingboro, New Jersey — Go, Gryphons!) But in a world of increasingly grey tones, with black and white cowboy hats and their corresponding matching horses long dispatched to Boot Hill, how do we signal Villainy before it even opens its mouth? Here, Luiza Liz Bond and Lewis Michael Bond crack the color code; let the Pantone chips fall where they may.

Queen’s Gambit : What Makes a Story Cinematic? by Adam Tinius (Entertain The Elk)

People sitting silently in chairs glaring daggers at each other over seven hours of film will be edge of the seat suspense, said no one ever.

Scott Frank: Hold my beer vodka.

Voir, episode 6: Profane and Profound by Walter Chaw (on Netflix )

Just in time for its 40th anniversary, Walter Chaw spares no superlatives in his pedestaling of 1982’s 48 HRS . as a watershed work of not only genre, but as a seminal, crucial and long overdue vivisection of contemporary society. In an essay flaying metatextual layers aside, he shows us the racism that’s the apex tentpole of the American power structure, and unpacks this archetypical ‘buddy comedy’ as a poisoned chalice of popcorn, its bitter taste sweetened by heaping doses of comedy.

Who am I to disagree?

Will DiGravio

Host, The Video Essay Podcast ; creator, ‘ Notes on Videographic Criticism ’

These seven videos/projects/films, for me, epitomise the greatness of this form: they provide a new way of seeing and engaging with familiar images, sounds, and mediums. Each taught me how to be a better watcher, listener, and reader. They inspired me, and I look forward to returning to them time and time again in the years to come.

A Fish with the Movie Camera: Lucrecia Martel’s Pescados as Metacinema by Barbara Zecchi

All Light, Everywhere by Theo Anthony

What is Neo-Snyderism? by Ariel Avissar

The Rise of Film TikTok by kikikrazed aka Queline Meadows

Citizen Kane : Transcending Bazin’s Dichotomy by Emily Su Bin Ko

Maggie Mae Fish

Actor, writer, film video essayist

The Day Rue ‘Became’ Black by Yhara Zayd

I love all of Yhara’s work, but this video in particular touches on a moment I remember in real-time — the backlash against a canonically young Black girl in the Hunger Games books, who when brought to life in the films illuminated the stunted imagination and racism in YA  audiences.

Bo Burnham’s Inside and ‘White Liberal Performative Art’  by F.D.  Signifier

F.D. Signifier is one of the most cuttingly insightful media critiques, and his work on Bo Burnham’s quarantine ‘masterpiece’ hits into why this type of art can ring hollow or shallow for as many people as it resonates with.

Rac(ism) & Horror by Khadija Mbowe

Khadija is funny, snarky, our ‘Millennial Auntie’ and in this video becomes a film professor to give an overview of the intersection of Blackness and the horror genre. It would be at home in any university course on the subject, but Khadija goes full out swapping costumes and sets to give as much entertainment as insightful analysis of a broad and deeply important topic.

Thomas Flight

Video essayist and filmmaker

What Isn’t a Video Essay? by Grace Lee (What’s So Great About That?)

The video essay is a notoriously hard genre to define. Grace Lee expertly uses the form to examine itself and avoids easy or cliché answers, appealing instead to our subjective intuition.

What Distinguishes the Great Existential Films? by Tom van der Linden (Like Stories of Old)

2021 came as a year of personal video essays. Blending a reading of real-world spaces and film, Tom explores his love of existential cinema through his love of empty churches.

The Game That Won’t Let You See All of It by Jacob Geller

Geller looks at how a video game, several films, and a TV show use their structure to examine the passage of time.

Midsommar ’s Audiovisual Tricks by Spikima Movies

Sometimes video essays serve a very practical purpose. Ari Aster’s Midsommar got under my skin, and I wanted to know why. But I was too unsettled to dive deeply enough into Midsommar’s world to figure out why for myself. Fortunately, Spikima does the dirty work of thoroughly answering that question in this essay. Does knowing a film’s tricks make it less horrifying?

How Movies Helped Me Process My Mother’s Death by Adam Tinius (Entertain The Elk)

Adam Tinius, from Entertain The Elk, offers a deeply personal and emotional examination of how losing his mother to cancer compared to representations of death and grief in film.

EraserNomad by Liz Greene

Greene discovers an implausible but compelling visual link between Nomadland and Eraserhead. There’s a strange echo in how Jack Nance and Francis McDormand navigate these spaces. Perhaps their characters are haunted by a similar ghost.

Ian Garwood

Senior lecturer in film and television studies, University of Glasgow

Not that anyone will be checking back, but my list this year features only names who I have not picked for previous polls.

Marion Cotillard Doesn’t Exist (And This Is the Proof) by Elena G. Vilela

Not that anyone will be checking back, but my list this year features only names who I have not picked for previous polls. I love the ‘Truman Show’ conceit of this video, which is superbly realised through dead-pan narration and an incredibly astute selection of clips.

This is an exhaustive, yet consistently enlightening and accessible, treatise on the supercut. Three years in the making, Max Tohline’s feature-length essay identifies a dizzying array of precursors to the internet-era supercut, as well as pinpointing its aesthetic and ideological effects.

This is a fascinating essay that makes an imaginative and persuasive association between the technology of cinema and the stethoscope. Its philosophical analysis of cinematic listening is pursued through a wonderful selection of clips.

Practices of Viewing: Muted by Johannes Binotto

On the one hand, Johannes Binotto’s Practice of Viewing could be seen as something of a video essayist’s manual, each entry itemising a technique associated with video essay-making processes. However, there is nothing textbook about the way these techniques are discussed: the address is passionate and wide-ranging, offering enlightenment on why these processes fascinate, rather than a ‘how to’ instruction. I’ve chosen this particular entry as it aligns with my interest in sound. It also provides an ending that resonates uncannily with the preoccupations of Mediated Auscultation – so watch them as a double bill.

[Safe] and The Neon Demon in Dialogue by Oswald Iten

Like Binotto’s work, Oswald Iten’s three-part experimental mash-up of [Safe] and The Neon Demon is accessible through videoessayresearch.org , a research website that should be bookmarked by anyone interested in the development of videographic criticism. Each of the videos combines the films according to a different founding principle, providing captivating evidence for Jason Mittell’s claim that formal parameters lead to content discoveries.

TV Dictionary —  Bron/Broen ( II ) by Barbara Zecchi

Ariel Avissar’s curation of the TV Dictionary  series was a highlight of the year, one in which I was happy to indulge as both creator and viewer. I’m really interested in the range of approaches adopted to address the same brief: to encapsulate a TV series in one word. Barbara Zecchi chooses a distinctive path by allowing a scene to play out at length first, before introducing her chosen word, and then letting the scene resume, now understood in the light of that word. I won’t spoil the surprise by revealing the pivotal word (but it made me laugh)!

Picturing the Collective: Seven Days in May by Libertad Gills

One technique showcased in the TV Dictionary series was to let a scene play out with minimal, yet still integral, textual commentary. Libertad Gills, who added an entry on Derry Girls to the collection, adopts a similarly minimalist approach to her use of captions in this video, which runs through a sequence from Affonso Uchoa’s Seven Days in May. The result is an explanatory scene analysis that displays the lightest of touches.

Tomas Genevičius

Art critic, kritikosatlasas.com

Josephine Massarella: One Woman Walking by Stephen Broomer

The Moment of Recognition: Phantom Lady and Sorry, Wrong Number by Patrick Keating

Silence in The Passionate Friends by Oswald Iten

The Thinking Machine #50: Nicholas Ray — Notes on Style by Cristina Álvarez López and Adrian Martin

Practices of Viewing: F. FWD by Johannes Binotto

Catherine Grant

Screen media-maker and publisher of scholarly video essays, and a former professor of screen studies (Website: https://catherinegrant.org )

Her first video essay and a superbly engaging work on Gen Z’s latest hub for film appreciation by the video essay’s MVP in 2021, which Queline followed up with another excellent study, The Two Worlds of Wolfwalkers . If these two huge achievements weren’t enough, Queline was also instrumental in the wonderful Essay Library Collaboration Project. Join the Essay Library Discord and check it out. And listen to Will DiGravio’s great conversation with her at the Video Essay Podcast ..

We were very lucky, at [in]Transition, the peer-reviewed video-essay journal I co-edit, to be able to publish some marvellous entries by new makers in this emergent scholarly field. Of the three I am highlighting here, one of the strongest in scholarly terms was this work that explored how one form of media (the stethoscope) might reveal something about another (cinema), and in so doing revisited some essential questions of cinema’s medium specificity in a supremely original way.

TERROR NULLIUS Unmixed by Caitlin Lynch

Given the ubiquity of global remix culture, Caitlin Lynch’s highly original proposal for a videographic research methodology designed to tackle this culture deserves a lifetime achievement award! What an amazingly useful concept ‘unmixing’ is, especially when it comes to deeply political work, like that by Australian collective Soda_Jerk. I can only agree with peer-reviewer Jaimie Baron who wrote that TERROR NULLIUS Unmixed shows that ‘the activities of remixing and unmixing, alternating in a potentially never-ending cycle, may constitute a productive strategy for grappling with our mediated traces of history, to which a definitive and closed meaning can never be attached.’

Stories of Haunted Houses: Female Subjects and Domestic Spaces in Contemporary Gothic Films and TV Series by Chiara Grizzaffi and Giulia Scomazzon

My personal favourite video essay on television and film, published in 2021, was co-authored by a new maker (Giulia Scomazzon) and by someone who is better known so far for her brilliant writing on video essays, my [in]Transition co-editor Chiara Grizzaffi (author of the great book I film attraverso i film. Dal «testo introvabile» ai «video essay»). Their collaboration produced a substantial and satisfying work, with affect like no other — a perfect combination of poetic, personal and scholarly approaches to contemporary female gothic films and tv series.

Outside the Lines by Dayna McLeod

One of the most exciting developments of 2021 was the turn to video essays made by established found footage and experimental film artists. Dayna McLeod is an internationally known Montreal based performance artist and video artist whose work often touches on topics of feminism, queer identity, and sexuality. In her first ever online video essays — on Lynch’s Wild at Heart — she shakes up the videographic universe with a wonderful fusion of personal-essay-filmmaking in a film critical vein. I really love what Dayna achieves in the incredibly concise and powerful frame of Outside the Lines.

Stephen Broomer is an internationally renowned experimental filmmaker, film preservationist, and scholar of Canadian cinema. His new turn to video essays in 2021 was both brilliant and prolific, resulting in two new series of high quality work: Art & Trash , which premiered in February 2021 with a twelve-episode first series of video essays on underground, avant-garde, psychotronic and outsider media, which his essay on Josephine Massarella inaugurated; and Detours, an equally rich new videographic series on the bruised soul of film noir . 2021 was an incredibly productive year from a remarkable filmmaker. I can’t wait for more.

TV Dictionary —  Derry Girls by Libertad Gills

My final vote in the poll (as I will retire after a long but happy stint as participant in it this year) goes to yet another young filmmaker, long interested in found footage, who is now making online video essays. Libertad Gills made my very favourite video essay, to date, in Ariel Avissar’s wonderful collaborative project TV Dictionary . Her work gets at the heart of what’s so brilliant about Derry Girls, which is no mean feat in three and half minutes, and reminds us, along the way, what a work of genius the series is.

Chiara Grizzaffi

Postdoctoral Fellow at IULM University. Co-editor of [in]Transition

Montegelato by Davide Rapp (watch trailer )

Screen Glare by Enrico Camporesi, Stefano Miraglia

Rites of THE PASSAGE by Catherine Grant & Deborah Martin

The Thinking Machine #49: The Burning House by Cristina Álvarez López and Adrian Martin

A Woman’s Place: Home in Cinema by Louise Radinger Field

Practices of Viewing: Screenshots by Johannes Binotto

How Good Filmmaking Brings a Script to Life by Michael Tucker (Lessons From the Screenplay)

Cydnii Wilde Harris

Film scholar and video essayist

I’ve always loved a good homework assignment, and I’ve particularly enjoyed seeing everyone’s responses to Ariel’s prompt. Every one I’ve seen has been a standout. I particularly really enjoyed those that used the video essay medium to play with form and tone, and really capture the essence of their chosen tv shows. But one that stuck with me in particular was Ariel’s own on Seinfeld : A real punch of text, editing, laugh tracks, and humor for the tv show about nothing. A’s all around.

Johannes’s Practices series has been such a marvel throughout the year. With every new entry, I’m confronted with his genius, and it’s been really inspiring to bear witness. Muted in particular really resonated with me. The whole series feels like an interrogation of film history, media present, while somehow remaining deeply meditative and personal. Johannes’s work, without fail, always leaves me feeling invigorated, about what I’ve just seen, and what I could possibly do.

Rio Bravo Diary by Will DiGravio

Watching the Rio Bravo Diary unfold all year has been such a treat. I didn’t grow up with any real affinity for the western, so to read Will’s essays about what this film in particular meant to him growing up and coming of age really helped me reappraise this specific film. His transparency has been really revelatory to see, and I really appreciate how he’s invited us all to get to know him a little better through this year-long project. Further, the consistency and discipline of dealing with a single text for a full 365 is such an interesting experiment in the first place.

It is so, so cool to see someone top themselves so consistently. The things Jessica accomplishes here, the introspection, the way she was able to tackle the issue of accessibility while also broadening the topic, the interplay between film, the internet, and the various windows surrounding us all from literal glass panes to phone, tablet, tv, and theater screens. I don’t think I’ve ever wished a video essay would keep going while also being so impressed by how perfectly it ends. It’s just so dynamic in every sense of the word, and incredibly well done.

let’s talk about sexless media | feminism, christianity, violence, etc by wit and folly

This is a video essay that somehow managed to synthesise an online conversation with such care and context that I can’t help but share it with friends. What they accomplish is one of my favourite forms of video essays on YouTube. It’s informative, well researched, yet personable and accessible. Their argument flows really nicely, and the citations do a lot to back up the personal statements made. It also really nicely laid out something that maybe I had felt about a recent media trend, but hadn’t yet been able to articulate myself. If I had to answer the question of sex scenes in films, I would simply point to this video essay as my answer.

Gab the Goat (ft. Yhara Zayd): A Celebration of Gabrielle Union & An F-U to Colorism and Tokenism by Melina Pendulum

I’m so happy I waited to submit, because these are two of my favourite video essayists discussing one of my favourite actresses (I’m also happy because it means I get to nominate them both under a single entry). I think sometimes we have a knee jerk reaction to group projects, and I think this video essay is a perfect example of how to combine two distinct voices and visions into a single project. The exploration into Union’s career is long overdue and so deserved. I think what struck me most was how strong the voice was. They make no apologies for their stance, and really challenge Hollywood to not just reflect but act. They really manage to ask some tough questions of not just the Hollywood system, but those that benefit from it. It’s theory with praxis and it’s all deliciously powerful.

Oswald Iten

Film scholar, video essayist, animator, PhD researcher

‘The Lighthouse’ (2021) by Leonardo Govoni, Cristina López Caballer, Mehran Abdollahi

Amuse-œil by Eric Faden

Barbara Stanwyck Rides Again by Shannon Harris, Catherine Russell

Sound and Silence in Gravity: Fidelity vs Intelligibility by Jordan Schonig

Special Mention: A Supercut of Supercuts by Max Tohline.

Miklós Kiss

Associate professor in audiovisual arts and cognition at University of Groningen, NL / co-author of Film Studies in Motion: From Audiovisual Essay to Academic Research Video

A wonderfully rich follow-up of Visual Disturbances (on my S&S best of list of 2019) on the analytical urge of ‘interrogating’ filmic images, obsessing on a rather invisible 1.14-second-long shot from Citizen Kane, and on those ‘small gifts for the eye’ that subtly but abundantly appear in Playtime. Like I said earlier: Faden’s care for quality is admirable and inspiring.

Mike Figgis on Timecode and Split-Screen Cinema by Leigh Singer

The COVID pandemic has normalised a once special technique of split screen, forcing its ‘cubist psychology’ on us while locked in our homes with only virtual split-windows to the world. Singer’s interview with Mike Figgis, director of the quadruple split screen film Timecode, is a highly informative, superbly comprehensive, and abundantly illustrated walkthrough of the (cinematic) history and effect of the technique.

Robert Eggers’ The Lighthouse, but as an ethnographic documentary exploring the life of lighthouse keepers in the early 20th century, directed by Robert Flaherty. An ‘ethnographic screwmeneutics’ project by the students of my Videographic Criticism course at the University of Groningen.

A massive (two hours!) video on supercuts, covering every possible angle on the technique, thereby forcing all the other supercut-researchers to find another subject of study.

Keating, with his signature analytical thoroughness, walks us through his audiovisual thinking process, distinguishing between camera movements delivering characters’ ‘revelation’ and ‘recognition’.

VR supercut diorama, the first of its kind, piecing together 180 films, TV series and commercials of the Monte Gelato waterfalls (near Rome) in 3D and with spatialised audio. Great idea, incredible effort, and superb implementation. Cinephile goosebumps are guaranteed!

Jaap Kooijman

Associate professor in media studies, University of Amsterdam, organiser ASCA videographic criticism seminar

The Black and White Coffee Set by Barbara Zecchi

Barbara Zecchi’s The Black and White Coffee Set is brilliant in its simplicity. The focus on one prop (he black-and-white coffee set in Ana Muylaert’s Que horas ela volta?) and the way the design of the audiovisual essay aesthetically repeats it, effectively work together to show the narrative importance of a seemingly mundane object. While its playfulness makes the audiovisual essay enjoyable to watch, its more ‘serious’ argument about Brazilian class and race relations remains clear throughout.

Staring Back by Sara Delshad

Although Staring Back works perfectly well as a study of auteurism, convincingly showing a signature style of filmmaker Chris Marker, Sara Delshad’s audiovisual essay stands out for me in the way it forces the viewer to become aware of their own subject position. The audiovisual essay highlights the human and non-human animal subjects staring back at the camera and, in extension, at the viewer. Those moments when the subjects answer the viewer’s gaze evokes a feeling – at least in me – of being caught staring. Delshad cleverly uses slow motion and freeze frame to enhance this sensation.

Sonic Chronicle, Post Sound by Cormac Donnelly

Some audiovisual essays really teach you something new. In Sonic Chronicle, Post Sound, Cormac Donnelly applies R. Murray Schafer’s definition of the soundscape to sonically analyze the newsrooms scenes in Zodiac, The Post, and All the President’s Men. Donnelly uses both sonic and visual techniques to make sound tangible, enabling those with untrained ears, like myself, not only to pay attention to, but also make sense of sound.

Evelyn Kreutzer

Postdoctoral researcher, Film University Babelsberg Konrad Wolf

Practices of Viewing: Mask by Johannes Binotto

I always attempt to curate my suggestions for the annual best video essays lists in a way that represents the breadth of video-essayistic output. Binotto’s Practices of Viewing series reflects sophisticated, in-depth, and yet very accessible and informative introductions to film-analytical concepts that are very suitable for both teaching purposes and film-scholarly thinking more broadly. I like Mask in particular because it evokes multiple layers of cinematic framing and spectatorship that seems to speak intuitively to our current moment of increasingly ‘masked’ experiences of the world.

Silence and Words: Voice-over and Trauma in Coixet & Campion by Barbara Zecchi

Barbara Zecchi’s video essay is a powerful, deeply affective video on cinematic sound, specifically the transcendence of internal and external sound (experience and narration). As a sound scholar, I always look and listen for videos like these.

The Typewriter (Supercut) by Ariel Avissar

Ariel Avissar’s video is less an academic video essay than it is an impressive, entertaining, and insightful supercut of a single object/motif across numerous media sources that is simple in its conceptual premise but very sophisticated in its execution and certainly provocative of critical reflexion.

TV Dictionary —  Marcella by Barbara Zecchi

Like the entire TV Dictionary  series (curated by Ariel Avissar), Barbara Zecchi’s video on Marcella turns the seemingly narrow pairing of a dictionary entry to a TV series into a multi-faceted, scholarly evocative, and visually stunning exercise. I like the whole series but so far this entry has been my favorite.

Video essayist

I don’t know what I was doing this year, but apparently it wasn’t watching a whole lot of videos, so no ‘hidden gems’ from me this year. But these three entertaining and engaging videos, while popular in terms of views, may have slipped through the more academic net. So enjoy!

Space Jam 2 is a Lie by John Walsh (Super Eyepatch Wolf)

I’m a sucker for some fiction, and Super Eyepatch Wolf sure knows how to have fun with the video essay format, making some of the most creative uses of the form. This video was a stand out for me this year.

The Battle of SHARKS ! By CGP  Grey

A charming story of the battle between art and city council planning permission, I don’t know if I’ve ever finished a video feeling more giddy and delighted. Review from my mum: “That video is worth more than every other video on YouTube put together, and deserves an award.”

CO - VID s: the 90’s neoliberal fantasia as experienced by daria morgendorffer, millennial by Ian Danskin (Innuendo Studios)

A wonderful defense of a defense of millennial teens, and an account of millennial nostalgia, which I am already nostalgic for. Ahh 28th Jan 2021, when I was still so full of hope for the year ahead. Ian Danskin continues to make exceptionally engaging videos from a deeply personal perspective that perfectly balances anecdote and academia.

Kevin B. Lee

Video essayist and educator; @alsolikelife

Three Minutes: A Lengthening by Bianca Stigter (watch trailer )

Three minutes of home movie footage taken in 1938 are explored through an impressive array of videographic techniques to create a vast and deeply moving contemplation on lives lost and history regained.

Also: ‘One Thousand and One Attempts to Be an Ocean’ by Wang Yuyan (watch trailer ), whose epileptic temporality goes in the polar opposite direction to achieve its own revelatory experience of the extreme online present.

Home When You Return by Carl Elsaesser (see details )

Stretching and blurring the boundaries of video essay, experimental film and home movie, traces of a 1950s homemade melodrama by amateur filmmaker Joan Thurber Baldwin intermingle with a mournful homage to the author’s grandmother and her vacated home. A powerful mélange of cinematic and domestic spaces, past and present.

Also: Screening Room: On Digital Film Festivals , by Jessica McGoff

Launched this year, this series currently consists of five video essays, each concerning a different method through which viewing is mediated (muting, screenshot, pausing, fast forwarding, masking). With an arresting combination of playfulness and obsessiveness, Binotto re-performs and reflects upon the techniques that govern spectatorship.

Also: Amuse-oeil by Eric Faden

What Isn’t a Video Essay? By Grace Lee (What’s So Great About That?)

YouTube video essays have generally bloated into hours-long vlogfests to maximize monetization algorithms, but here is a rigorously crafted tour de force that rewards rewatching for the many memeic details it contains. It breathlessly performs a mind engaging the internet on its own terms, utilizing the temporal and audiovisual affordances of always-on networked life to reflect thoughtfully back upon itself.

Also: The Scholarly Video Essay by Ian Garwood. Garwood demurs from calling this a video essay, but they certainly demonstrate how pre-recorded lectures can evolve from a lowly COVD -era necessity into an arresting videographic form in its own right.

This was released just around last year’s poll; since then it’s become a go-to reference for film dinosaurs like me to make sense of how film culture can thrive among a new generation and its preferred platforms.

Also, this .

Transitional Moments in Cinematic Virtual Reality by Sarah Atkinson

A critical and revealing interrogation of the gender (en)coding of virtual reality as it has been presented in cinema, implicitly calling for a more inclusive re-coding of these mediums not only as a means for entertainment but for social co-presence.

Also: Michael Ironside and I by Marian Mayland (watch trailer )

The Best Simpsons Episode is About Losing Everything You Love by Jacob Geller

As also evidenced in his The Game That Won’t Let You See All of It , Geller is able to narrate the YouTube video essay and its pop culture preoccupations into areas of uncommon sensitivity and existential poignancy.

Also: Mad Men’s Babylon: Mapping out a Musical Metaphor by Ariane Hudelet

Adrian Martin

Film critic and audiovisual essayist

Satirical pastiches are good when they are accurate, and this one is so accurate it manages to satirise several things at once, from nerd-fan culture to the Kogonada craze.

Prendre conscience / perdre connaissance by Occitane Lacurie

The smart conjunction of Last Year at Marienbad and Westworld via a quote from surrealist cinephile Robert Benayoun – I could hardly ask for anything more.

Most audiovisual essays depend on some level of prior film analysis, but not so many are actually very good at really achieving an analysis above the most obvious and basic undergraduate level. Keating is an excellent analyst and he turns his insights into finely constructed montage pieces, like this one.

A lot of so-called remix culture simply, from Adam Curtis downward, simply celebrates the brute fact of being able to sample and throw things together — often quite incoherently. Lynch’s superb work takes a patient strategy of unmixing to comment on those genuine remix masters, the Soda_Jerk team.

Vedette — For Laura Mulvey by Catherine Grant

Catherine Grant’s dispositifs of audiovisual comparison, often with an inscribed text component, can look deceptively simple. This one revealingly lines up words from Laura Mulvey’s recent work with breathtaking passages of two classic Max Ophüls films.

Dialogue III : CAROL / JESSE by Oswald Iten

This is the culminating and best work in Iten’s series interweaving Todd Haynes’ Safe and Nicolas Winding Refn’s The Neon Demon. More than a matter of demonstrating the banal influence of one film or filmmaker on another, this audiovisual essay achieves a dreamy, hallucinatory intensity and texture.

Secrets of Ghosts by Johanna Vaude

If you’re going to re-imagine a pre-existing film in a new and creative montage, really push it to something extreme. Vaude, among the most masterful of all practitioners in this field, works her special magic on Mulholland Drive, part of her series of ongoing commissions from Arte’s BLOW UP  program.

Daniel Mcilwraith

Video essayist and video editor

in process… | james benning at neugerriemschneider by Erika Balsom

The Representation of Rape on Screen by Lucie Emch

Alan O’L eary

Associate professor of film and media in digital contexts at Aarhus University. His manifesto for a parametric videographic criticism was published this year in NECSUS .

Nuit Debout/Up At Night by Nelson Makengo (watch trailer )

Congolese artist-filmmaker Nelson Makengo spreads his portrait of Kinshasa, a city beset by power cuts, across three screens punctuated with bare lightbulbs and the dancing beams of torches, the whole underpinned by an evocative sound world of generator noises, off-screen conversations and voices from the radio. Some participants at the ethnographic film festival where I saw Up At Night complained they found the three-screen format distracting, but it is precisely the reflexive use of multiscreen—sometimes showing identical images, sometimes different, and sometimes nothing—that places Up At Night in the essay film tradition and lifts it clear of documentary or auto-ethnography.

Obliged to placate a UK funding system structurally suspicious of academic and artistic enquiry, Screenworks , the journal of practice research in screen media, insists on a detailed setting out of research questions and social impact for each of its video publications. Elisabeth Brun duly complies in the statement accompanying her intimate and spectacular 3 x Shapes of Home, but the film contains all the elements it needs to explain itself. I love how it’s unsatisfied with, and unafraid to compromise, its own beauty, and how the playful voiceover interacts dynamically with content and form. It’s a sensual and conceptual treat.

Ian Garwood has used tweets as ‘research outputs’ in a novel way as part of his Indy Vinyl project (see his 2020 article in NECSUS ) but Will DiGravio has actually deployed the structural affordances of Twitter in his year-long analysis of Rio Bravo. In 365 daily tweets, DiGravio methodically posted 22-second clips from Hawk’s film prefaced by an observation or reaction in 280 characters. This is ‘video/essay’ as iterative performance rather than reporting of analysis and I like to think of it in the tradition of Barthes’ S/Z, where scientific method is pushed to absurdist (and intensely personal) ends.

The Television Will Not Be Summarized by Elizabeth Alsop

Elizabeth Alsop is concerned in this video essay with an ‘exhibitionism’ that resists and exceeds plot summary in shows like The Leftovers, Hannibal and Twin Peaks: The Return. Alsop talks in her [in]Transition creator statement of confronting the methodological challenge of dramatizing (rather than summarizing) spectacular televisual phenomena without merely appropriating their rhetorical force. I admire how she meets this challenge with wit and economy (and without voiceover) through a combination of sound and cryptic imagery, multiscreen and onscreen text. The framing sections effectively stage the meditative experience of the extended extracts that form the central bulk of the video essay.

OUT OF PLACE (Or, Lost in NOMADLAND ) by Catherine Grant

Apparently, Catherine Grant has asked not to be mentioned in this year’s poll, but it would be strange to omit our leading role model in ‘filmmaking research’ (Grant’s preferred term). Anyway, I have chosen an epigraphic video I don’t particularly like. Grant’s treatment of onscreen text is exemplary, as ever, but the quote from Sarah Ahmed is coercive and folksy, while the juxtaposition of quirky music and looped images of Frances McDormand risks whimsy. The point for me, though, is that this sketch forms part of a broader practice that is always more than the sum of its video parts.

He Almost Forgets That There Is a Maker of the World by Ben Spatz, N. Eda Erçin, Caroline Gatt and Agnieszka Mendel

In this essay, onscreen text is used to annotate a 30-minute single-take recording of researcher-performers using speech, song and body to interact with books and each other to investigate some meanings of Jewishness. This ‘illuminated video’, as maker Ben Spatz dubs it, is an expression of what Spatz refers to in a series of writings as ‘the video way of thinking’ (see 2018 article of that name and the 2020 book ‘ Making a Laboratory ’). What I particularly value here is the idea and practice of essay-making as an experimental situation rather than as the mere documentation or reporting of research.

Julian Palmer

YouTube video essayist, The Discarded Image

A trip into the video essay metaverse, but done in a unique and funny style that makes potentially academic content propulsively entertaining.

Using a combination of self-shot footage (mostly churches) and some of the great existential films from Bergman, Schrader, Tarkovsky, Malkick, etc, LSOO explores why he’s drawn to religious art and architecture, without being overtly religious himself, which I can relate to.

The Invisible Horror of The Shining by Kristian T. Williams (kaptainkristian)

After being away from the scene for two years, it was great to see the return of Kristian’s trademark slick style. He takes arguably the most talked to death film of all time, and makes it fresh.

Why Is Bo Burnham’s Inside like That? by Thomas Flight

Clearly inspired by Bo Burnham’s groundbreaking achievement, Flight applies many similar techniques—with numerous camera set-ups and video essay styles—to explore that work in a wholly original way.

The Transformation of Anthony Hopkins by Luís Azevedo (Little White Lies)

A touching and creative tribute to the legendary actor. Azevedo has Hopkins in dialogue with himself, creating an emotional journey through his many roles.

I’m sure we all use movies to guide us through the toughest times. And this emotionally raw video uses them as a way to remember a loved one, and deal with a devastating loss.

Jemma Saunders

Audio-visual PhD student at the University of Birmingham

Epigraph —  Grand Budapest Hotel by Owen Mason-Hill

Concise videographic epigraph that explores and pleasingly manipulates colour, maintaining an Anderson aesthetic throughout.

Documentary as a Genre of Fiction by Oscar Mealia

A complex reflection on documentary storytelling that focuses on Orson Welles’ F for Fake and includes a performative element from the creator. Rich in its academic grounding and playful in execution.

Audiovisual Film Criticism and Cosmopolitanism ( AKA The Haunting of the Headful Academics) by Ian Garwood

A video essay that ate other video essays. This really resonated with me, not only for its acknowledgement and incorporation of the Zoom space we have inhabited for much of the last two years, but for the important questions it poses about how we choose our material as essayists.

I just find this joyous to watch: beautifully paced and a brilliant example of how the supercut can reveal as well as revere.

This is a powerful and haunting piece of work. In slowing down, repeating, and zooming in to archival footage, it forces the viewer to confront and re-engage with what may seem familiar images of the Holocaust.

BBC Inside Cinema series

Many of these bite-size explorations are essentially well-crafted compilations with voiceovers rather than more experimental or academically essayistic pieces, but I learn something every time I watch one. There’s an eclectic range of topics, from uncanny spaces and nuns on film; to examinations of the macguffin and credit sequences.

An Investigation of Colour in Black Mirror by Matt Cook

I’m a firm believer that any video essay should make the most of the form and this is a strong example of an undergraduate doing just that through employing various audio-visual techniques to develop his argument. It’s great to hear a regional accent too!

Daniel Schindel

Associate editor, Hyperallergic

ACTION BUTTON REVIEWS Tokimeki Memorial by Tim Rogers (Action Button)

Tim Rogers transitioned from being a leader within New Games Journalism to producing some of the most in-depth video reviews about video games and how they create meaning. This epic six-hour essay goes in-depth on a little-known Japanese romance game, including summaries of two playthroughs of it. In line with the rest of Rogers’s work, it is not merely about this game, but about a sprawling, branching series of fascinating tangents around interpersonal relationships and how interactive art can engage them.

Why Don’t the Cops Fight Each Other? by Grayson Earle

A terrific example of found commentary in pop culture. The designers of Grand Theft Auto V likely didn’t intend to make a statement on the ‘Blue Wall of Silence’, but by programming police officers not to attack one another, no matter what, they unwittingly replicated real-world dynamics. Earle turns his tinkering with the game’s code into an intriguing investigation into media message-making.

Identity: A Trans Coming Out Story by Abigail Thorn (Philosophy Tube)

This is the least ‘essay-like’ work on my ballot, but Abigail Thorn is pushing the creative envelope so much within the field of popular YouTubers that I feel she deserves mention. One thing I love about Philosophy Tube is how Thorn finds a way to incorporate the concepts she discusses into the forms of the videos themselves. Here, she makes clear the performative nature of gender by having a cis male portray the closeted, male-presenting version of herself. The moment when that actor steps aside and Thorn comes out (sorry) is one of my favourite in any video this year.

The way that Binotto scrutinises the structures and conventions of digital modes of viewing through the lens of analog interfaces is consistently engrossing. It’s always a treat each time a new instalment in this series pops up.

There had to be something here acknowledging the pandemic, and McGoff’s literate and deeply considered rumination on the experience of a virtual film festival spoke more to my supremely odd times as a cinephile under lockdown than anything else I’ve seen on the matter.

The History of the Atlanta Falcons by Jon Bois, Alex Rubenstein, Joe Ali

Jon Bois might just be my favourite documentarian working today, and I have a strong suspicion that soon a lot more internet videos are going to be taking cues from his work. This multipart look at the trials and tribulations of the Falcons is a longform study of failure in all its myriad forms. In the hands of Bois and his collaborators, we see in this team a devastating series of near-misses, could-have-beens, and lost opportunities. Sports narratives often focus on snatching victory from the jaws of defeat; who knew the opposite could be so engrossing?

My only complaint about Grace Lee is that she doesn’t upload more often! Especially since in her recent work she’s demonstrated an incredible visual sensibility, casually packing tons of information — jokes, easter eggs, and more — into every shot. This video is near and dear to my heart because it speaks to my own struggles to define video essays, and my gnawing feeling that sometimes we might be getting too permissive with the term, or alternatively too restrictive. Few essayists explore this kind of ambivalence as well as Lee.

Shannon Strucci

Video essayist,  StrucciMovies

how i would defeat the immortal snail by Faline San

Faline San’s videos are typically anecdotes about her life or explanations of her thought process regarding bizarre niche topics. They caught my attention due to her quick pacing, engaging storytelling, her finely-tuned (and very funny) editing style, and her self-deprecating sense of humor. how i would defeat the immortal snail is a great example of this – it’s essentially a ten minute rant about a Reddit thought experiment , but it’s very funny and complex. This is especially impressive considering she is still a teenager, and I look forward to seeing what work she produces in the future!

The Bizarre World of Fake Psychics, Faith Healers, and Mediums by John Walsh (Super Eyepatch Wolf)

John’s essays are always funny and thought-provoking and he had some more avant-garde videos this year that pushed video essays as a medium (specifically his Space Jam and Dell nightmare videos, which I’d also recommend) but his fake psychics video stood out to me as something with the potential to help save a viewer from being taken advantage of, which is tremendously valuable. It’s dense with research and history and comes from both a place of anger and empathy. It’s a fantastic video.

Scout Tafoya

Johannes had a hell of a year. This whole series is superb.

Tenderness — Rio Bravo Diary by Will DiGravio

De la femme by Caterina Cucinotta and Jesús Ramé López

Reimagining Blackness and Architecture ( MOMA ) by Russell Yaffe, Rafael Salazar Moreno ( RAVA  Films)

Great series.

Our Focus by Kevin B. Lee

Max Tohline

Independent media scholar and video essayist

Flight of the Navigator | VFX Cool by Alan Melikdjanian (Captain Disillusion)

Captain Disillusion’s videos debunking viral hoaxes or misinformation about visual effects wizardry have been top-tier YouTube content for years, but nothing could have prepared me for this ravishing deconstruction of the technical magic in the cult-classic Flight of the Navigator. I don’t have euphoric superlatives extreme enough for how I felt watching this video the first time — not only does C.D. use VFX to analyze VFX (probably the final boss of videographic criticism); his attention, research, wit, obsession, and good old fashioned formal analysis blow everything else out of the water.

Though it has stiff competition from Faden, Keating, Mittell, and others, Mediated Auscultation is my favorite peer-reviewed essay of the year. Like many film scholars, I’ve never given enough attention to sound — precisely because sound never struck me as being essentially ‘cinematic’. But Talijan shows that cinema’s promise of immersive sensing from a distance applies as much to sound as image. The icing on the cake is that while plenty of video essays are ‘meditative’, few have made the tone demonstrate the argument as Talijan does here, with the audio putting me in a near- ASMR  haze.

I never realized it was possible to deploy a parody of a video essay (in this case a classic on neorealism from kogonada) in the service of an argument that is not only NOT a joke, but possibly richer than that of the original. Whereas kogonada merely illustrated a reasonably conventional understanding of the difference between de Sica’s style and classical Hollywood style, Avissar completely overturned my narrow-minded received takes on Snyder by offering me a different mode of attention. Even if an ambiguity remains as to what Snyder’s style ‘means’, I’ll never pigeonhole him the same way again.

No Face Is an Incel by CJ the X

Generally I’d exclude wall-to-wall-talking-head channels from a list of great video essays, but CJ the X is in the middle of an annus mirabilis. So, for those who don’t have the 2.5 hours for CJ ’s urgent cry-of-the-soul Burnham/Bezos essay , here’s an intoxicating 100-mile-an-hour sprint of an essay that performs a Žižekian looking-awry on Spirited Away that might not be dressed up in academic finery, but has a more nimble intellect than many who’ve put up with the steamroller of peer review.

As we enter the eighth or ninth wave of rumination on what ‘counts’ as a video essay and how to think videographically, Johannes Binotto has become the undisputed master of reflection on the everyday practices of viewing that form the foundation of what video essayists do. Watching his ongoing Practices of Viewing series (in particular the one on the screenshot, but also others on pausing, fast-forwarding, muting), I felt like I’d found Arne Saknussemm’s name scratched into the cave wall— a fellow traveler.

eye / contact by Niki Radman

This essay takes its time and a good deal of text setting up its argument, but when it finally unveils its purely visual denouement — a 3x3 grid of images that jaw-droppingly links one note of Barry Jenkins’s formal language with his whole symphony of themes surrounding identity — I felt like I was gonna turn into drops.

Inside: Are Video Games Art? by Arttective

The tip of the YouTube iceberg conceals a Sierpinski triangle of icebergs beneath it — so many that it’s mathematically remarkable that any individual essay ever made it to my eyes at all. Had I not met Arttective on the Essay Library Discord server, I wouldn’t have seen this gem, which uses the rewind and skip keys on YouTube to inject some tantalizing interactivity into the grammar of the video essay. But I’m so glad I did: the experience is engrossing. If anyone out there solves the puzzle in this video, please let me know the answer!

David Verdeure

Creator, collector and curator of video essays under the nom de video Filmscalpel

The pandemic proves fertile ground for video essays. Changing film distribution models mean movies are available sooner to audiovisual critics. In-person and live events have been replaced with pre-taped materials, creating another vein of visuals for video essay makers to tap into. We’re often confined to our personal visual echo chambers that are filled with screens that confound as much as they clarify. And that we’re forced to spend more time in close quarters may also contribute to the unmistakable trend that video essays are getting longer. In 2021 audiovisual strategies that are common to the video essay popped up everywhere. In academia and the arts. In news broadcasts and film festivals. In talk shows and on TikTok. These are just a few remarkable examples.

In his feature-length video Tohline gives an overview of the history, the aesthetics and the modus operandi of the supercut. He examines the tension between its dueling impulses of (fannish) desire and serious analysis, and he proposes strategies to increase the form’s critical impact. But most important is how Tohline regards the supercut not as a mere editing technique but as the material expression of a specific and novel way of thinking. We try to make sense of the world by ordering it into either archives or databases, and the supercut is the poster child for that database mode.

Just when you think the whole supercut model has been mapped, along comes an innovative application of this strategy. Davide Rapp combines clips of the Monte Gelato waterfalls near Rome into a 28-minute VR collage. Scores of rectangular film and television scenes together form a full circle, recasting the role of the spectator from immobile viewer in a theater seat to participatory flaneur. Montegelato is an immersive three-dimensional palimpsest that puts the viewer at the center of this nexus of cinematic storytelling: a location that inspired filmmakers working across different genres, in different times and with very different means.

Gyres 1-3 by Ellie Ga (watch excerpt )

American artist Ellie Ga’s single channel video installation Gyres 1-3 is another example of how to put an inventive spin on a classic videographic strategy. This is a desktop video essay of sorts, with the desktop being a light table onto which she arranges and rearranges transparent photographs. Her essayistic voice over narration is triggered by the succession of (often) archetypal images that serve as lodestars for the video’s loose narrative structure. But unlike the more traditional virtual desktop, Ellie Ga’s physical handling of the transparent slides adds a tactile and more personal touch to the process.

Under the White Mask: The Film That Haesaerts Could Have Made by Matthias De Groof (watch trailer )

In 1958 Paul Haesaerts made Under the Black Mask, a documentary on Congolese art. That Belgian film was formally inventive but it also perpetuated racist stereotypes. Scholar and filmmaker Matthias De Groof remixed Haesaerts’ film into a scathing critique of colonialism. He combined the footage of mute masks with an impassioned voice over by slam poet Maravilha Munto. In Haesaerts’ version, art hid atrocities. Aestheticism was used as a mask for the ugly face of colonialism to hide behind. This powerful remix tears off that mask: it uses exactly the same artistic means but reclaims their critical potential.

Cinema Turns: Catalan Creative Documentary by Celia Sainz

In this beautifully paced and expertly constructed video essay Celia Sainz focuses on a quartet of documentary films made in Catalonia over the past two decades by female filmmakers. She does not seek to ascribe a collective national identity or ideological agenda to these works but looks for shared artistic (cinematographic and narrative) strategies. Like the creative documentaries it studies, this video essay uses time and tone to drive home its points. The assured audiovisual approach and well-judged rhythm of this piece are part and parcel to its intellectual and affective impact.

Lucie Emch’s video essay deals with the troublesome on-screen representation of rape. She starts off in a conventional way but then brings music videos into the mix. The video essay really hits its stride when it mashes up Jenny Wilson’s RAPIN * music video (from 2018) with Ida Lupino’s film Outrage (from 1950).

This fine piece was published by Tecmerin. That online journal deserves to be lauded for its persistent efforts to bring to the fore the work of video essay makers who are not native English speakers, and for the fact it reviews and publishes pieces in many different languages.

Barbara Zecchi

Professor and director of the film studies programme, University of Massachusetts Amherst

The most intelligent video-essay I’ve seen on sound (or rather, on lack of sound) in cinema. Brilliant!

With over 40 works to date, Ariel Avissar’s intelligent project has certainly accomplished its expected goal of increasing the video essay’s interest in television products. It has also achieved a less expected result: it strengthened a community of video essayists who have engaged playfully in this almost addictive collaborative endeavor.

Film Thought 1. Will the Plausible: On FIVE CARD STUD by Will DiGravio

Skillfully produced (superb storytelling and rhythm), this video-essay takes full advantage of the form’s possibilities by centering in a simple perceptive observation. A little gem which marks the beginning of a promising new series by Will DiGravio

Cinephilia translated into an audiovisual essay at its best. A deeply personal and emotional account of Adrian Martin’s love for film and for film analysis becomes one of the best pieces I can think of on a rigorous and theoretical reflection on the video-graphic essay as a form.

Public Controversy and Film Censorship. The release of All Quiet on Western Front (1930) in Berlin by Manuel Palacio y Ana Mejón

I saw this video-essay for the first time when Ana Mejón presented it at the video-graphic webinar organized by the Universidad Carlos III de Madrid in September. I was immediately impressed. It’s a superbly crafted video-essay that condenses thorough and serious work of scholarly research.

A powerful and chilling work that did not go unnoticed at the Adelio Ferrero Festival, Italy. I look forward to the multi-modal project that will be published in the upcoming issue of Research in Film and History together with this video-essay.

It’s so smart and funny, and, as Jason Mittell said, it “speaks to many of us.”

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How Can I Write an Essay About a Movie?

By Film Threat Staff | May 23, 2023

Watching movies for a long time has been a major past-time for most individuals. The people expect to sit in front of their screens and get thrilled into a world of adventure, mystery, and wonder.

But how can you gauge your appreciation and understanding of filmmaking? Writing an essay about a movie is one way of showing your grasp of the content.

Movie analysis is a common assignment for most college students. It is an intricate task where every detail matters while tied together to form a part of the story.

A part of the assignment involves watching a particular movie and writing an essay about your overall impression of the movie.

Essay writing services such as WriteMyEssay show that more than rewatching a movie several times is needed to make up for a solid movie analysis essay. Here is a step-by-step guide on how to write your movie analysis:

What Is a Movie Essay?

essay film nedir

The world of literature is multifaceted while testing different attributes of students. A movie analysis essay, at its core, seeks to uncover the hidden layers of meaning within the cinema world.

A movie analysis essay is much more than a movie review that seeks to delve into the artistry behind filmmaking. Thus, it seeks to test a student’s prowess in understanding various elements that come together to form a meaningful cinematic experience.

The main purpose of movie analysis essays is to dissect different components employed by a film in making a unique and impactful storyline.

Students can appreciate the filmmaking process’s complexities by analyzing these different elements. Also, students can develop a keen eye for the nuances that elevate a movie from entertainment to a work of art.

Here are top tips by experts when writing an essay about a particular movie during your assignments:

1. Watch the Movie

The first obvious standpoint for writing an essay about any movie is watching the film. Watching the movie builds an important foundation for the writing exercise. Composing an insightful, compelling, and well-thought movie essay requires you to experience it.

Therefore, select an appropriate environment to watch the movie free from distractions. Moreover, immerse yourself in the full movie experience to absorb all the intricate details. Some critical elements to note down include:

  • Characterization
  • Cinematography

We recommend watching the movie several times in case the time element allows. Rewatching the film deepens your understanding of the movie while uncovering unnoticed details on the first take.

2. Write an Introduction

The introductory paragraph to your movie essay should contain essential details of the movie, such as:

  • Release date
  • Name of the director
  • Main actors

Moreover, start with a captivating hook to entice readers to keep reading. You can start with a memorable quote from one of the characters.

For example, released in 1976 and Directed by Martin Scorsese, ‘The Taxi Driver’ starring Robert De Niro as the eccentric taxi driver.’

essay film nedir

After writing an enticing introduction, it is time to summarize what you watched. A summary provides readers with a clear understanding of the movie’s plot and main events. Hence, your readers can have a foundation for the rest of your movie essay.

Writing a summary need to be concise. The entire movie essay should be brief and straight to the point. Ensure to capture the main arguments within the movie’s plot. However, avoid going into too many details. Just focus on giving concise information about the movie.

4. Start Writing

The next vital part is forming the analysis part. This is where the analysis delves deeply into the movie’s themes, cinematography, characters, and other related elements.

First, start by organizing your analysis clearly and logically. Each section or paragraph should concentrate on a particular aspect of the film. Ensure to incorporate important elements such as cinematography, character development, and symbolism.

In addition, analyze different techniques employed by filmmakers. Take note of stylistic choices, including editing, sound, cinematography, imagery, and allegory. This helps contribute to the overall impact and meaning.

Lastly, connect your analysis to the thesis statement. Ensure all arguments captured in your analysis tie together to the main argument. It should maintain a straight focus throughout your essay.

Remember to re-state your thesis while summarizing previously mentioned arguments innovatively and creatively when finishing up your movie essay. Lastly, you can recommend your reader to watch the movie.

Final Takeaway

The writing process should be a fun, demanding, and engaging assignment. Try these tips from experts in structuring and logically organizing your essay.

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Essays About Movies: 7 Examples and 5 Writing Prompts

Check out our guide with essays about movies for budding videographers and artistic students. Learn from our helpful list of examples and prompts.

Watching movies is a part of almost everyone’s life. They entertain us, teach us lessons, and even help us socialize by giving us topics to talk about with others. As long as movies have been produced, everyone has patronized them.  Essays about movies  are a great way to learn all about the meaning behind the picture.

Cinema is an art form in itself. The lighting, camera work, and acting in the most widely acclaimed movies are worthy of praise. Furthermore, a movie can be used to send a message, often discussing issues in contemporary society. Movies are entertaining, but more importantly, they are works of art. If you’re interested in this topic, check out our round-up of screenwriters on Instagram .

5 Helpful Essay Examples 

1. the positive effects of movies on human behaviour by ajay rathod, 2. horror movies by emanuel briggs, 3. casablanca – the greatest hollywood movie ever (author unknown).

  • 4.  Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

5. Blockbuster movies create booms for tourism — and headaches for locals by Shubhangi Goel

  • 6. Moonage Daydream: “Who Is He? What Is He?” by Jonathan Romney
  • 7. La Bamba: American Dreaming, Chicano Style by Yolanda Machado

1. My Favorite Movie

2. movies genres, 3. special effects in movies, 4. what do you look for in a movie, 5. the evolution of movies.

“​​Films encourage us to take action. Our favourite characters, superheroes, teach us life lessons. They give us ideas and inspiration to do everything for the better instead of just sitting around, waiting for things to go their way. Films about famous personalities are the perfect way to affect social behaviour positively. Films are a source of knowledge. They can help learn what’s in the trend, find out more about ancient times, or fill out some knowledge gaps.”

In this movie essay, Rathod gives readers three ways watching movies can positively affect us. Movie writers, producers, and directors use their platform to teach viewers life skills, the importance of education, and the contrast between good and evil. Watching movies can also help us improve critical thinking, according to Briggs. Not only do movies entertain us, but they also have many educational benefits. You might also be interested in these  essays about consumerism .

“Many people involving children and adults can effect with their sleeping disturbance and anxiety. Myths, non-realistic, fairy tales could respond differently with being in the real world. Horror movies bring a lot of excitement and entertainment among you and your family. Horror movies can cause physical behavior changes in a person by watching the films. The results of watching horror movies shows that is has really effect people whether you’re an adult, teens, and most likely happens during your childhood.”

In his essay, Briggs acknowledges why people enjoy horror movies so much but warns of their adverse effects on viewers. Most commonly, they cause viewers nightmares, which may cause anxiety and sleep disorders. He focuses on the films’ effects on children, whose more sensitive, less developed brains may respond with worse symptoms, including major trauma. The films can affect all people negatively, but children are the most affected.

“This was the message of Casablanca in late 1942. It was the ideal opportunity for America to utilize its muscles and enter the battle. America was to end up the hesitant gatekeeper of the entire world. The characters of Casablanca, similar to the youthful Americans of the 1960s who stick headed the challenge development, are ‘genuine Americans’ lost in a hostile region, battling to open up another reality.”

In this essay, the author discusses the 1942 film  Casablanca , which is said to be the greatest movie ever made, and explains why it has gotten this reputation. To an extent, the film’s storyline, acting, and even relatability (it was set during World War II) allowed it to shine from its release until the present. It invokes feelings of bravery, passion, and nostalgia, which is why many love the movie. You can also check out these  books about adaption . 

4.   Dune Review: An Old Story Reshaped For The New 2021 Audience by Oren Cohen

“Lady Jessica is a powerful woman in the original book, yet her interactions with Paul diminish her as he thinks of her as slow of thought. Something we don’t like to see in 2021 — and for a good reason. Every book is a product of its time, and every great storyteller knows how to adapt an old story to a new audience. I believe Villeneuve received a lot of hate from diehard Dune fans for making these changes, but I fully support him.”

Like the previous essay, Cohen reviews a film, in this case, Denis Villeneuve’s  Dune , released in 2021. He praises the film, writing about its accurate portrayal of the epic’s vast, dramatic scale, music, and, interestingly, its ability to portray the characters in a way more palatable to contemporary audiences while staying somewhat faithful to the author’s original vision. Cohen enjoyed the movie thoroughly, saying that the movie did the book justice. 

“Those travelers added around 630 million New Zealand dollars ($437 million) to the country’s economy in 2019 alone, the tourism authority told CNBC. A survey by the tourism board, however, showed that almost one in five Kiwis are worried that the country attracts too many tourists. Overcrowding at tourist spots, lack of infrastructure, road congestion and environmental damage are creating tension between locals and visitors, according to a 2019 report by Tourism New Zealand.”

The locations where successful movies are filmed often become tourist destinations for fans of those movies. Goel writes about how “film tourism” affects the residents of popular filming locations. The environment is sometimes damaged, and the locals are caught off guard. Though this is not always the case, film tourism is detrimental to the residents and ecosystem of these locations. You can also check out these  essays about The Great Gatsby .

6. Moonage Daydream:  “Who Is He? What Is He?” by Jonathan Romney

“Right from the start, Brett Morgen’s  Moonage Daydream  (2022) catches us off guard. It begins with an epigraph musing on Friedrich Nietzsche’s proclamation that “God is dead,” then takes us into deep space and onto the surface of the moon. It then unleashes an image storm of rockets, robots, and star-gazers, and rapid-fire fragments of early silent cinema, 1920s science fiction, fifties cartoons, and sixties and seventies newsreel footage, before lingering on a close-up of glittery varnish on fingernails.” 

Moonage Daydream  is a feature film containing never-before-seen footage of David Bowie. In this essay, Romney delves into the process behind creating the movie and how the footage was captured. It also looks at the director’s approach to creating a structured and cohesive film, which took over two years to plan. This essay looks at how Bowie’s essence was captured and preserved in this movie while displaying the intricacies of his mind.

7. La Bamba:  American Dreaming, Chicano Style by Yolanda Machado

“A traumatic memory, awash in hazy neutral tones, arising as a nightmare. Santo & Johnny’s mournful “Sleep Walk” playing. A sudden death, foreshadowing the passing of a star far too young. The opening sequence of Luis Valdez’s  La Bamba  (1987) feels like it could be from another film—what follows is largely a celebration of life and music.”

La Bamba  is a well-known movie about a teenage Mexican migrant who became a rock ‘n’ roll star. His rise to fame is filled with difficult social dynamics, and the star tragically dies in a plane crash at a young age. In this essay, Machado looks at how the tragic death of the star is presented to the viewer, foreshadowing the passing of the young star before flashing back to the beginning of the star’s career. Machado analyses the storyline and directing style, commenting on the detailed depiction of the young star’s life. It’s an in-depth essay that covers everything from plot to writing style to direction.

5 Prompts for Essays About Movies

Simple and straightforward, write about your favorite movie. Explain its premise, characters, and plot, and elaborate on some of the driving messages and themes behind the film. You should also explain why you enjoy the movie so much: what impact does it have on you? Finally, answer this question in your own words for an engaging piece of writing.

From horror to romance, movies can fall into many categories. Choose one of the main genres in cinema and discuss the characteristics of movies under that category. Explain prevalent themes, symbols, and motifs, and give examples of movies belonging to your chosen genre. For example, horror movies often have underlying themes such as mental health issues, trauma, and relationships falling apart. 

Without a doubt, special effects in movies have improved drastically. Both practical and computer-generated effects produce outstanding, detailed effects to depict situations most would consider unfathomable, such as the vast space battles of the  Star Wars  movies. Write about the development of special effects over the years, citing evidence to support your writing. Be sure to detail key highlights in the history of special effects. 

Movies are always made to be appreciated by viewers, but whether or not they enjoy them varies, depending on their preferences. In your essay, write about what you look for in a “good” movie in terms of plot, characters, dialogue, or anything else. You need not go too in-depth but explain your answers adequately. In your opinion, you can use your favorite movie as an example by writing about the key characteristics that make it a great movie.

Essays About Movies: The evolution of movies

From the silent black-and-white movies of the early 1900s to the vivid, high-definition movies of today, times have changed concerning movies. Write about how the film industry has improved over time. If this topic seems too broad, feel free to focus on one aspect, such as cinematography, themes, or acting.

For help with your essays, check out our round-up of the  best essay checkers .

If you’re looking for more ideas, check out our  essays about music topic guide !

essay film nedir

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Essay Kontrol

Essay nedir & Essay ne demek

Essay nedir ya da essay ne demek İngilizce eğitim gören lise ya da üniversite öğrencilerinin çok sık sorduğu bir soru. Bu yazımızda essay nedir ve essay ne demek sorularını cevaplayacağız.

Essay Nedir?

Essay, aslında İngilzice’de deneme ya da kompozisyon anlamına gelir. Yani hocanız bir essay yazın dediğinde aslında size İngilizce bir kompozisyon ya da deneme yazın demek istiyor.

Essay Ne Demek?

Essay nedir ya da essay ne demek sorularına cevap vermek için bir de kısa video ders çektik. Aşağıdaki videoyu izleyerek bu soruların cevabını bulabilirsiniz.

Essay uzunluğu ne kadar olmalıdır?

Essay uzunluğu girdiğiniz sınava ya da sınıfınıza göre değişiklik gösterir. TOEFL, IELTS, PTE gibi uluslararası İngilizce yeterlilik sınavlarında essay uzunluğu genelde 300 kelime civarındadır. Benzer şekilde İngilizce eğitim yapan pek .ok üniversite İngilizce yeterlilik yani proficiency sınavlarında öğrencilerden ortalama 300 kelimelik essayler yani İngilizce kompozisyonlar yazmalarını ister.

Writing için Kilit Fiiller

Essay Kontrol e-posta bültenine katılın daha iyi İngilizce yazmak için okurlarımız için hazırladığımız ücretsiz kaynaklara ulaşın.

Essay türleri nelerdir?

Pek çok essay türü vardır. Bazı essay türleri bir konunun avantajlarını ve dezavantajlarını anlatmanızı ister. Bazı essay türleri bir fikri savunmanızı ister. Bazı essay türleri ise bir problemi çözmenizi ister. Essay çeşitlerini öğrenmek ve her bir essay türüyle ilgili örnekleri görmek için Essay Çeşitleri & Essay Türleri dersimizi okuyun.

essay film nedir

En Sevilen Essay & Writing Kitabı ✅

81 şehir & binlerce öğrenci Essay Rehberi ‘ne güveniyor. Essay Rehberi ile tanışın, writing dertlerinizden kurtulun. Yazarken aklınıza fikir gelmiyor mu? Uzun ve güzel cümleler kuramıyor musunuz? Vaktiniz yetmiyor mu? Thesis nedir, outline nedir, body nasıl yazılır bilmiyor musunuz? Essay kalıplarını öğrenmek mi istiyorsunuz? Essay yazma ile ilgili bilmeniz gereken her şey Essay Rehberi‘nde.

Etiketler: essay nedir, essay ne demek, essay anlamı, essay türkçesi,

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IMAGES

  1. Vice: The Essay Film and the Creativity of Adam McKay

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  2. How to write a film essay. How to Write a Movie Critique Essay. 2022-10-16

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  3. 🌈 Film analysis essay example. City of God: Film Literary Analysis

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  4. The Essay Film

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  5. My favourite film essays in 2021

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  6. Essay "Film Analysis "

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COMMENTS

  1. Essay Film Üzerine Tezler

    Essay Film Üzerine Tezler 0. Bize bir karmaşa olarak verilmiş olan gerçeklik, onu ona bize verilmiş olduğundan daha karmaşık bir biçimde iade etmemiz için bizi düşünmeye iten şeydir. 1. Belgesel, gerçekliğin bir yansıması değildir, daha ziyade yansımanın bir gerçekliğidir.

  2. The Best Essay Films, Ranked

    What is an essay film? Let's take a look at the movie genre that replaces exciting plots with the poetry of tangled self-reflection. VUFKU In literature, an essay is a composition dealing...

  3. Video essay

    From another perspective, an essay film could be defined as a documentary film visual basis combined with a form of commentary that contains elements of self-portrait (rather than autobiography), where the signature (rather than the life story) of the filmmaker is apparent.

  4. (PDF) The essay film as methodology for film theory and practice

    Through the interaction of both moments, provoked by the critical revision of the raw material and its possibilities of montage, the essay film is constructed through the filmmaker's...

  5. The Essay Film: Problems, Definitions, Textual Commitments

    The Essay Film: Problems, Definitions, Textual Commitments Laura Rascaroli (bio) The label "essay film" is encountered with ever-increasing frequency in both film reviews and scholarly writings on the cinema, owing to the recent proliferation of unorthodox, personal, reflexive "new" documentaries.

  6. How the Essay Film Thinks

    Less than a decade ago the expression "essay film" was still encountered only sporadically; today, the term has been widely integrated into film criticism, and is increasingly adopted by filmmakers and artists worldwide to characterize their work-while continuing to offer a precious margin of resistance to closed definitions.

  7. Project MUSE

    Godard and the Essay Film offers a history and analysis of the essay film, one of the most significant forms of intellectual filmmaking since the end of World War II. Warner incisively reconsiders the defining traits and legacies of this still-evolving genre through a groundbreaking examination of the vast and formidable oeuvre of Jean-Luc Godard.

  8. Essays on the Essay Film

    The essay—with its emphasis on the provisional and explorative rather than on definitive statements—has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Errol Morris ...

  9. 199. Elements of the Essay Film on Vimeo

    Video marketing. Power your marketing strategy with perfectly branded videos to drive better ROI. Event marketing. Host virtual events and webinars to increase engagement and generate leads.

  10. Chris Marker and the Art of the Essay-Film

    The late filmmaker Chris Marker's fascination with the recurring graffiti of a grinning yellow cat on the streets of Paris sheds surprising light on the human condition. The Case of the Grinning Cat will be screened at the TIFF Bell Lightbox in Toronto on May 19. "It is a great asset in life", Chris Marker observes dryly in The Case of ...

  11. 13- Narrative Essay nasıl yazılır? / How to write a ...

    #essay #outline #narrativeessayMerhaba, Bu videoda Essay'in ikinci türü olan Narrative Essay'i inceledik. Kurallarını, kullanım şekillerini ve örneklerini vi...

  12. Film Writing: Sample Analysis

    Purdue OWL Subject-Specific Writing Writing in Literature Writing About Film Film Writing: Sample Analysis Film Writing: Sample Analysis Introductory Note The analysis below discusses the opening moments of the science fiction movie Ex Machina in order to make an argument about the film's underlying purpose.

  13. Essay Nasıl Yazılır [7 Essay Türünde Örneklerle Anlatım]

    1.1 1. Adım: Öncelikle ödevde istenenlerin ne olduğunu iyice anlamalıyız. 1.1.1 Essay'inizde ne yazmanız isteniyor iyice okuyun. 1.1.2 Essay'in formatının ve yazma stilinin nasıl olduğunu kontrol etmeliyiz. 1.1.3 Konunuzu daraltın, böylece essay'inizin net bir odak noktası olacaktır. 1.2 2.

  14. The best video essays of 2021

    The Rise of Film TikTok by kikikrazed aka Queline Meadows. Her first video essay and a superbly engaging work on Gen Z's latest hub for film appreciation by the video essay's MVP in 2021, which Queline followed up with another excellent study, The Two Worlds of Wolfwalkers.

  15. Film Essays/Analysis

    Film Essays and Analysis The Transformative Impact of Teachers on the Protagonists of 21st Century Coming-Of-Age Films Mr Hunnam's impact on his student Angus Tully in 'The Holdovers' is just one of a number of examples of teachers acting as key guiding figures in coming-of-age film. Essay by Cat Searcey.

  16. Essay nedir & essay ne demek

    Essay nedir, essay ne demek gibi soruların cevabını bu video dersinde bulacaksınız. Ayrıca essay uzunlukları, essay bölümleri gibi konuları işleyip örnek bir...

  17. essay film

    essay film (Q11356864) From Wikidata. Jump to navigation Jump to search. film genre. cinematic essay; cinematic essay film; edit. Language Label Description Also known as; English: essay film. film genre. cinematic essay; cinematic essay film; Statements. instance of. film genre. 0 references. subclass of. art film. 0 references.

  18. 10- Essay Outline'ı nasıl yazılır? / How to write an Essay Outline

    #essay #outline Merhaba, Bu videoda essaylerde kullanmamız gereken Outline tablosunu anlattım. Kurallarını, kullanım şekillerini ve örneklerini videoda göreb...

  19. How Can I Write an Essay About a Movie?

    Here are top tips by experts when writing an essay about a particular movie during your assignments: 1. Watch the Movie. The first obvious standpoint for writing an essay about any movie is watching the film. Watching the movie builds an important foundation for the writing exercise. Composing an insightful, compelling, and well-thought movie ...

  20. Persuasive Writing Strategies and Tips, with Examples

    1 Choose wording carefully. Word choice—the words and phrases you decide to use—is crucial in persuasive writing as a way to build a personal relationship with the reader. You want to always pick the best possible words and phrases in each instance to convince the reader that your opinion is right. Persuasive writing often uses strong ...

  21. Essays About Movies: 7 Examples And 5 Writing Prompts

    1. The positive effects of movies on human behaviour by Ajay Rathod " Films encourage us to take action. Our favourite characters, superheroes, teach us life lessons. They give us ideas and inspiration to do everything for the better instead of just sitting around, waiting for things to go their way.

  22. 17- Compare and Contrast Essay nasıl yazılır? / How to ...

    #essay #outline #compareandcontrastessay Merhaba, Bu videoda Essay'in altıncı türü olan Compare and Contrast Essay'i inceledik. Kurallarını, kullanım şekille...

  23. Essay nedir & Essay ne demek

    Essay Ne Demek? Essay nedir ya da essay ne demek sorularına cevap vermek için bir de kısa video ders çektik. Aşağıdaki videoyu izleyerek bu soruların cevabını bulabilirsiniz. Essay nedir & essay ne demek Watch on Essay uzunluğu ne kadar olmalıdır? Essay uzunluğu girdiğiniz sınava ya da sınıfınıza göre değişiklik gösterir.