The "organic" is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, ...this concise and innovative study locates organicity in the work of Béla Tarr, the renowned Hungarian filmmaker and pioneer of the "slow cinema" movement. Through a wholly original analysis of the long take and other signature features of Tarr's work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.
El presente artículo se acerca a una reconstrucción del problema del arte en la filosofía de Jacques Rancière. Para ello, revela cómo al interior de su defensa de un régimen estético en el mundo ...contemporáneo, se encuentra una crítica al pensamiento metafísico. Para poder mostrar cómo las imágenes cinematográficas (en especial las que produce el cine moderno) des-montan la metafísica, como un rasgo de dicho régimen, se analiza la filmografía del director húngaro Béla Tarr. Allí se exponen los conceptos claves del pensamiento estético de Rancière en contraste con su propia lectura del cine, el cual ocupa un lugar privilegiado en su trabajo, en la medida en que sus imágenes desafían cualquier tipo de perspectiva representativa que se evidencia en la obra cinematográfica analizada. Palabras clave: Régimen estético; imagen; cinematografía; Rancière; Béla Tarr. This article approaches to a reconstruction of the problem of art in Jacques Rancière's philosophy. For this, it reveals how inside of their defense of an aesthetic regime in the contemporary world, it is found a critique of metaphysical thought. To show how the cinematographic images dismantle metaphysics (especially those produced by modern cinema), as a feature of this regime, the films of Hungarian director Bela Tarr are analyzed. Thus, the key concepts of aesthetic thinking of Rancière are shown, in contrast to its own reading of film, which occupies a special place in his work, to the extent that his pictures defy any representative perspective that is evidenced in the cinematographic work analyzed. Key words: Aesthetics regime; image; cinematography; Rancière; Béla Tarr.
Martell approaches the human through a complex of time, space, animal and its affective constellation of slowness. He presents a multi-layered discussion of Bela Tarr's cinema, which responds to ...Laszlo Krasznahorkai's meandering syntax in its intense arrestedness. He also argues against the contemporary fascination with speed, equated with smartness and mobilizes the non-reflexivity of stupidity, mutating into the reflexivity of madness to reopen a space for thinking. His rich and dense endnotes ask the reader to pause and go slow. In this performative resistance to the rapid pretence of understanding lies a horizon of the human, redefined through stupidity at the affective cusp of slowness that can turn time into space.
FILM AS EVENT NEDAEE, NAEEM
Canadian journal of film studies,
10/2019, Letnik:
28, Številka:
2
Journal Article
Recenzirano
Damnation (Béla Tarr, 1988) se signale par un rendu esthétique d’un caractère particulier qui dépasse l’étroite perspective historique et s’ouvre sur celle de l’immanence temporelle. Les images ...sombres, sordides et lugubres du film ne représentent pas le monde réel, ni ne visent la métaphysique sous-jacente. Elles dénotent, en fait, un effort créatif pour capter le simple événement, la formation d’un mouvement de déplacement dans lequel le monde, l’image et le spectateur s’entrecroisent dans un état constant de devenir. En ce sens, le film met en scène une confrontation directe avec les possibilités virtuelles de la vie et contribue à l’imagination d’une réalité plus profonde. À la lumière de la conceptualisation de Gilles Deleuze de l’image-temps ou l’image-cristal, l’auteur avance que Damnation s’appuie sur une vision holistique du réel et du créatif pour établir une relation excessive-intensive avec l’extérieur.
Damnation (Béla Tarr, 1988) is informed by a peculiar aesthetic rendition that moves beyond the narrow horizon of history and opens out to the plane of temporal immanence. The sombre, sordid, and bleak images of the film do not represent the world of reality, nor do they aim for the metaphysical beyond. What they effectively do is mark a creative effort to capture the mere event, the formation of a shifting movement in which the world, the image, and the viewer intertwine in constant becoming. In this sense, the film stages a direct encounter with life’s virtual possibilities and contributes to the imagining of a more profound reality. In light of Gilles Deleuze’s conceptualization of the time-/ crystal-image, this article posits that Damnation relies on a holistic view of the real and the creative to establish an excessive/intensive relation to the outside.
The "organic" is by now a venerable concept within aesthetics, architecture, and art history, but what might such a term mean within the spatialities and temporalities of film? By way of an answer, ...this concise and innovative study locates organicity in the work of Béla Tarr, the renowned Hungarian filmmaker and pioneer of the "slow cinema" movement. Through a wholly original analysis of the long take and other signature features of Tarr's work, author Thorsten Botz-Bornstein establishes compelling links between the seemingly remote spheres of film and architecture, revealing shared organic principles that emphasize the transcendence of boundaries.
This article examines how the body of films commonly described as "slow cinema" require the film theater for their spectatohal contract to be fully met, an aspect illustrated by recent durational ...films that focus on the theatrical experience as a theme in its own right. By exploring the ways in which slow cinema eschews the conventional temporal articulations of narrative cinema in favor of indeterminate temporalities, the article posits that the slow style might be fruitfully understood as a meta reflection on a collective mode of spectatorship that loses its exclusivity as cinema ventures into new spaces and onto new screens.
Beginning with Almanac of Fall, Tarr's themes become increasingly universal, metaphysical; the formal and stylistic qualities of his filmmaking harden and come to the surface, calling attention to ...themselves; and the settings change from the city (specific, identifiable, grounded in space and time), to the village or the countryside (relatively abstract, generalized). Werckmeister, which perfectly embodies Tarr's late work, focuses on the simpleminded Janos, who watches as the arrival in his village of a mysterious circus, represented by the corpse of a massive whale and an unseen and apparently powerful figure known as the Prince, inexplicably unleashes a wave of chaos and violence among the villagers. ... the film ends with a cut to the two of them back together, shopping for and driving silently back home with a brand new washing machine, a symbol of a more affluent life which has clearly failed to deliver any emotional satisfaction.
Just as They Are Klawans, Stuart
The Nation (New York, N.Y.),
11/2011, Letnik:
293, Številka:
20
Magazine Article
Klawans talks about this year's New York Film Festival. Once a tightly curated series of presentations on a single screen, all of which a sufficiently determined person could see, the festival this ...year completed its transformation into a cinephiles' carnival swirling in and around four venues, which offered so many pictures that even the hard core had to choose. Among the consequences: an intensified conviviality, the heightened presence of corporate sponsors, the relegation of most documentaries to a separate slate and a tacit relaxation of critical authority. Here, he also focuses on some film entries, including Alexander Payne's The Descendants, Bela Tarr's The Turin Horse, and Asghar Farrhadi's A Separation.
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