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Hi all! Another point that I think may be important is that the essay film is a dialogical form. Contrary to what it may seem at first, it is never a monologue but a dialogue between the essayist and those who dealt with the subject she / he is exploring before him. In this respect, the viewer is normally acknowledged in the essay film and even encouraged to take part in the dialogue, as happens in Chris Marker´s “Sans soleil” with the returned gaze and the multiple unanswered questions thrown at the viewer. With regard to a possible definition of the essay film, difficult issue as that is, I would like to contribute the one formulated by Alain Bergala which I think reflects better the complexity of the matter: “What is an essay-film? It is a film which does not follow any of the general rules of cinema as an institution whether it is in terms of genre, duration or social imperatives. It is a ‘free’ film in the sense in which it must invent and define its own form each and every time”. For the list, I think the films of Harun Farocki (“The Inextinguishible Fire”, 1969; “Images of the World and the Inscription of War”, 1989) and José Luis Guerín (“Tren de sombras”, 1997; “En construcción”, 2001) in Spain. Best Wishes, David Montero * * Film-Philosophy Email Discussion Salon. After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] For help email: [log in to unmask], not the salon. **