Setting off from the question of the timeliness of the essay film and its dependence on ever-improving technology and against the backdrop of Theodor W. Adorno’s discussion of the essay form’s anachronistic, antisystematic resistance, the introduction discusses the essay film as future philosophy—as a contrarian, political cinema of thought. Drawing on the centrality of the interstice to Gilles Deleuze’s understanding of the cinema as thought, it brings issues of effect and of functioning, rather than of essence, to the fore, arguing that the essay film thinks not just verbally, but also through a disjunctive audiovisual method that exploits in-between filmic spaces to bring about new thought.
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