Essay about YAY man

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Ultimate Bedroom

Monochromatic: Green atic essay") consists of the evolution of a theme or an idea rather than a plot per se; or the film literally being a cinematic accompaniment to a narrator reading an 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. The cinematic essay often blends documentary, fiction, and experimental film making using a tones and editing styles.[18]

The genre is not well-defined but might include propaganda works of early Soviet parliamentarians like Dziga Vertov, present-day filmmakers including Chris Marker,[19] Michael Moore (Roger & Me (1989), Bowling for Columbine (2002) and Fahrenheit 9/11 (2004)), Errol Morris (The Thin Blue Line (1988)), Morgan Spurlock (Supersize Me: A Film of Epic Proportions) and Agnès Varda. Jean-Luc Godard describes his recent work as "film-essays".[20] Two filmmakers whose work was the antecedent to the cinematic essay include Georges Méliès and Bertolt Brecht. Méliès made a short film (The Coronation of Edward VII (1902)) about the 1902 coronation of King Edward VII, which mixes actual footage with shots of a recreation of the event. Brecht was a playwright who experimented with film and incorporated film projections into some of his plays.[18] Orson Welles made an essay film in his own pioneering style which was released in 1974 called F for Fake, which dealt specifically with art forger Elmyr de Hory and with the themes of deception, "fakery," and authenticity in general.

David Winks Gray's article "The essay film in action" states that the "essay film became an identifiable form of film making in the 1950s and '60s". He states that since that time, essay films have tended to be "on the margins" of the film making world. Essay films have a "peculiar searching, questioning tone" which is "between documentary and fiction" but without "fitting comfortably" into either genre. Gray notes that just like written essays, essay films
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