Poster

How It Began

We launched into this studio with an exploration of the words of Tracy, A., McGahan, K., Möller, O., Wolf, S., and Power, N. (2019), who described the essay film as one that “marries intellectual exploration with a visual narrative, offering a space for thought that is as much about the process of thinking as about the subjects themselves.” This struck a chord, helping me understand why some essay films resonate deeply with me: they separate narration from visuals, allowing each to carry its own weight. Films without direct-to-camera moments, focusing instead on visual storytelling, felt impactful and guided my approach to my own essay film.

In my “creative dump” notes app, I had made a simple jotting: *“mahjong; how to play –> but there’s clearly a story happening in the background.”* This note was the spark. Initially, I imagined my film as narrative-heavy, relying on scripted scenes rather than voiceovers. But as I navigated practical constraints—such as limited access to actors and the challenge of scripting genuine on-screen chemistry—I found myself drawing on journal entries and reflecting on my mixed-race identity. This pivot brought me back to the core of the essay film, which often blends personal perspective with broader themes. Tracy et al. (2019) describe the essay filmmaker as a “guide” or “philosopher,” leading the audience through a reflective journey rather than a structured narrative. My film evolved into a personal exploration of my perspective on culture, family, and identity, with Mahjong as the connecting thread—a symbol of heritage that resonated with my experience of being mixed-race.

Thoughts on My Final Work

I hope my final film communicates a distinct yet relatable experience, allowing viewers to see their own connections to heritage or identity. Watching the diverse array of essay films from others in the studio reinforced the incredible variety within our group and the room this studio provides for innovation. Each person brought a unique interpretation to the prompt, highlighting the freedom inherent in essay films to explore, question, and push boundaries.

A significant lesson I gained from this experience is that storytelling doesn’t have to provide clear answers to the questions that drive the creative process. Richter (1940) encapsulated this when he wrote, “the essay film… draws its energy from questioning the world rather than providing ready-made answers.” In my voiceover, I conclude on an unresolved note, admitting I may never fully understand the role Mahjong has played in shaping my identity. As Richter emphasized, the essay film “breaks away from linear narrative structures, embracing ambiguity and a fragmented reality to stimulate the intellect.” This insight allowed me to lean into the film’s purpose as a snapshot of my evolving reflections on heritage and self, rather than a definitive statement, inviting viewers to find their own interpretations.

If I were to continue working on this project, I would focus on deepening the visual experience through graphics. While I experimented with visuals, there’s potential to add effects and textures to build a more immersive landscape. Enhancing the audio soundscape would also be a priority. I used only two music tracks, both variations on similar notes, and while I liked the consistent tone, it felt somewhat limited given the range of emotions I wanted to convey. Hence, I’d say this was the most problematic aspect of my essay film. I also enjoyed weaving in voice memos from my grandparents, which added a personal layer, but expanding the audio could further enrich the film’s impact. Time constraints played a role in simplifying these elements, so if I were to revisit the piece, I’d invest more time in crafting an auditory experience that aligns with the layered visuals.

Reflecting on my strengths, I believe the film’s authenticity and flow are its most compelling aspects. Many of my peers described the piece as “real” and “personal,” which reassures me that my intent resonated. Achieving this believability was a milestone for me, as I wanted the work to feel both introspective and accessible. I also received positive feedback on the flow, particularly how it transitions smoothly from instructional segments to reflective voiceovers—a balance I hope to bring into future projects as I continue building upon these foundational storytelling skills.

Collaboration

Peer feedback was a crucial part of this process. Although we worked individually, the advice and insights shared within the group provided fresh perspectives and encouragement. In past projects, I often felt a sense of uncertainty and tended to be overly critical of my work, and I realised that this stemmed, in part, from a lack of collaborative input. Hearing others’ feedback helped me recognise aspects of my rough cuts that could be enhanced, leading to a more confident and well-rounded piece. This process has taught me the value of embracing feedback as an integral part of developing a film.

Final Thoughts

This studio has transformed how I think about filmmaking, especially in using images, video, and editing to convey a story without relying on linearity. Alexander Kluge, in an interview, speaks about “fragmentation [and] montage” (Thomas, 2017), using cuts and edits to create something coherent out of disparate elements. This method allows for storytelling that, while disjointed, flows and speaks to viewers on multiple levels. I’m grateful for the creative freedom to experiment and challenge myself in this studio, and I am excited to carry these techniques into future projects. The lessons from “Thinking with Pictures” have not only strengthened my technical skills but also expanded my understanding of narrative possibilities. I look forward to applying these insights to continue exploring unique and meaningful stories in my next studio.

References:

• Tracy, A. McGahan, K. Möller, O. Wolf, S. Power, N. (2019) The essay film, British Film Institute website, accessed 24 October 2024. https://www2.bfi.org.uk/news-opinion/sight-sound-magazine/features/deep-focus/essay-film
• Richter, H. (1940) The Film Essay: A New Kind of Documentary Film. in Alter NM and Corrigan T (ed), Essays on the Essay Film (2017), New York, Columbia University Press, 89- 92.
• Thomas, J. (2017) ‘Alexander Kluge interviewed by Jonathan Thomas’, The Third Rail, 10, http://thirdrailquarterly.org/alexander-kluge/Links to an external site.