By Ira Jaffe
"In all movie there's the will to catch the movement of existence, to refuse immobility," Agnes Varda has famous. yet to catch the truth of human event, cinema needs to fasten on stillness and state of being inactive up to movement. sluggish video clips investigates video clips by means of acclaimed foreign administrators who some time past 3 a long time have challenged mainstream cinema's reliance on movement and motion. greater than different realist artwork cinema, gradual video clips via Lisandro Alonso, Nuri Bilge Ceylan, Pedro Costa, Jia Zhang-ke, Abbas Kiarostami, Cristian Mungiu, Alexander Sokurov, Bela Tarr, Gus Van Sant and others appreciably adhere to space-times during which emotion is repressed in addition to movement; enhancing and discussion yield to stasis and contemplation; motion surrenders to vacancy if no longer loss of life.
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Additional info for Slow Movies: Countering the Cinema of Action
COSTUME Genre, a term designating ﬁlms of a common type, provides an easy inroad to costuming: we can think easily of a cowboy’s look as he rides into town in a Western, or of a spaceship oﬃcer’s garb as she sits before a ﬂashing control board in a science ﬁction ﬁlm. Because genre is an eﬀect of repetition, we learn its codes so that we can quickly orient ourselves to the new iteration of a given story. This form of “typing” is not limited to genre ﬁlms, of course. Sergei Eisenstein’s The Battleship Potemkin (1925) exploits “typage” in order to diﬀerentiate the heroic sailors from the rigid and oppressive oﬃcers on the battleship.
A note for future study: many ﬁne textbooks extend the discussion of ﬁlm analysis you are about to read. Three of them upon which many academics and college/university courses rely regularly THE LANGUAGE OF FILM are Jill Nelmes’ Introduction to Film Studies, David Bordwell and Kristin Thompson, Film Art: An Introduction and Timothy Corrigan and Patricia White, The Film Experience. All three texts multiply the number of terms I present here, and they acknowledge the paradoxical, if not impossible, nature of any taxonomy of ﬁlm.
As the words in bold type throughout this book indicate, however, I ﬁnd some specialized language nonetheless helpful for describing what we see and hear and then thinking deeply about it, just as the ability, I believe, to parse a sentence renders one’s own writing more precise and nuanced in order to make an argument. Here in this chapter, then, I condense key areas of ﬁlm analysis; in the remainder of the book, I visit some of these other ways of thinking through the phenomena of cinema. The title of this chapter, “the language of ﬁlm,” means, then, to suggest that one learn the language of ﬁlm analysis precisely in order to say something meaningful about a given ﬁlm, or about cinema (and you will see that most of what follows applies equally to digital practices, some of which I distinguish especially in the realms of cinematography and editing).