书目名称 | Poetics of Slow Cinema | 副标题 | Nostalgia, Absurdism | 编辑 | Emre Çağlayan | 视频video | http://file.papertrans.cn/750/749618/749618.mp4 | 概述 | Marks the first study to treat slow cinema both as an aesthetic mode and as an institutional discourse.Theorises slow cinema cannon as a convergence between realist and modernist aesthetics.Brings in | 图书封面 |  | 描述 | .This book discusses slow cinema, a contemporary global production trend that has recently gained momentum in film theory and criticism. Slow films dispense with narrative progression in favour of a contemplative mood, which is stretched out to the extreme in order to impel viewers to confront cinematic temporality in all its undivided glory. Despite its critical reputation as an oblique mode of film practice, slow cinema continues to attract, challenge and provoke audiences. Focusing on filmmakers Béla Tarr, Tsai Ming-liang and Nuri Bilge Ceylan, this book identifies nostalgia, absurd humour and boredom as intrinsic dimensions of slow cinema and explores the ways in which these directors negotiate local filmmaking conventions with the demands of a global cinephile niche. As the first study to treat slow cinema both as an aesthetic style and as an institutional discourse, .Poetics of Slow Cinema. offers an illuminating perspective on the tradition’s historical genealogy and envisions it with a Janus-faced disposition in the age of digital technologies—lamenting at once the passing of difficult, ambiguous modernist film and capitalizing on the yearning for its absence.. | 出版日期 | Book 2018 | 关键词 | Film spectatorship; experience of duration; slow cinema; slow films; cinematic temporality; minimalism; mo | 版次 | 1 | doi | https://doi.org/10.1007/978-3-319-96872-8 | isbn_softcover | 978-3-030-07266-7 | isbn_ebook | 978-3-319-96872-8 | copyright | The Editor(s) (if applicable) and The Author(s) 2018 |
1 |
,Slow Cinema in Context, |
Emre Çağlayan |
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Abstract
This chapter begins by navigating the terms of the Slow Cinema Debate and then moves to an extensive review of the ways in which commentators theorized slow cinema as an aesthetic, industrial and political phenomenon. As Çağlayan considers slow cinema as a nostalgic rebirth of modernist art film, the second section focuses on global art cinema, with an overview of both the films’ aesthetic features and industrial context. The chapter reasserts the need to consider slow cinema both as an aesthetic and institutional discourse, focusing on slow cinema’s extended use of long takes and dead time as well as its reliance on the networks of international film festivals. In order to explain the critical methodologies employed in the book, Çağlayan summarizes historical poetics as a conceptual framework that considers artworks from an aesthetic and historical perspective.
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,Béla Tarr: A Nostalgia for Modernism, |
Emre Çağlayan |
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Abstract
Çağlayan examines the work of Béla Tarr with a focus on the main aesthetic functions of the long take, dedramatization and framing. While the long take is traditionally associated with cinematic realism, Tarr’s combined choreography of dedramatization and claustrophobic framing strategies encourage sheer observation and contemplation in a way that transcends narrative motivation. Focusing on exemplary scenes from . (1994) and . (2000), the chapter argues that Tarr’s unique mode of narration comprises references and allusions to modernist art cinema. Tarr’s baroque camera movements are conceptualized through the figure of the ., which enables audiences to be immersed in the film, while retaining a self-reflexive detachment. The chapter concludes with a discussion of nostalgia as a mode through which slow cinema revitalizes critical debates on modernist aesthetics.
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,Tsai Ming-Liang: Less Is Absurd, |
Emre Çağlayan |
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Abstract
Çağlayan explores the films of Tsai Ming-liang and their relationship to Taiwan New Cinema. Tsai garnered critical praise at international film festivals due to an increasing critical interest in East Asian national waves. But his films display an incongruous mix of conflicting genre conventions, which are detailed in reference to minimalist aesthetics and camp sensibility. Tsai’s main narrational strategy preserves the rudimentary causal links between story actions but uses dead time, stillness and ambiguity in delaying narrative comprehension, resulting in a type of humour that recalls the Theatre of the Absurd. This art-historical genealogy is explored through Tsai’s use of sound, with an emphasis on incongruity as the defining element of absurdism. The analysis concentrates on . (2003), a film that takes cinema-going as its subject matter and the discussion concludes with the nostalgic overtones of cinephilic practice and how these debates find their critical currency in slow cinema.
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,Nuri Bilge Ceylan: An Aesthetics of Boredom, |
Emre Çağlayan |
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Abstract
Çağlayan offers an analysis of Nuri Bilge Ceylan’s films in relation to slow cinema and contextual dynamics of filmmaking in Turkey. The chapter begins with an institutional history of cinema in Turkey and discusses the critical intervention by which Ceylan and New Turkish Cinema brought newer ways of telling stories. Following an overview of the production methods Ceylan borrows from the traditional film industry, the chapter moves to investigate boredom as the underpinning aesthetic strategy that is responsible for the filmmaker’s departure from those very customs. With extended analyses of . (2002) and . (2011), Çağlayan argues that slow cinema has the potential to transform boredom into an aesthetically engrossing and politically liberating experience.
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,Epilogue: The Future of Slow Cinema, |
Emre Çağlayan |
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Abstract
Çağlayan concludes the book by examining slow cinema in a broader conceptual framework. The chapter addresses whether slow cinema is an official, structured or consistent artistic movement and examines it through the prism of ., which refers to the function of aesthetic devices in a given historical period and enables a rigorous investigation of the relationship between film style and its target audiences, and of the ways in which spectators ascribe meanings to particular cinematic techniques. After an emphasis on the complex global circulation of slow films over the past four decades and some insights into slow cinema’s immediate future, a summary of the case studies are provided.
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