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.
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
References
Agee, James. 2008. Day of Wrath. In American Movie Critics: An Anthology from the Silents Until Now, ed. Philip Lopate, 163–165. New York: The Library of America.
Allen, Robert C., and Douglas Gomery. 1985. Film History: Theory and Practice. New York: McGraw-Hill.
Andrews, David. 2013. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. Austin: University of Texas Press.
Anon. 2002. Read This Slowly. New York Times, September 28. http://www.nytimes.com/2002/09/28/opinion/read-this-slowly.html. Accessed 5 Nov 2017.
Arthur, Paul. 2006. Habeus Corpus: A Meditation on ‘The Death of Mr. Lazarescu’ and Corporeal Cinema. Film Comment 42 (3): 44–46 48–49.
Betz, Mark. 2009. Beyond the Subtitle: Remapping European Art Cinema. Minneapolis: University of Minnesota Press.
———. 2010. Beyond Europe: On Parametric Transcendence. In Global Art Cinema: New Theories and Histories, ed. Rosalind Galt and Karl Schoonover, 31–47. New York: Oxford University Press.
Bordwell, David. 1979. The Art Cinema as a Mode of Film Practice. Film Criticism 4 (1): 56–64.
———. 1989. Making Meaning: Inference and Rhetoric in the Interpretation of Cinema. Cambridge, MA: Harvard University Press.
———. 2008. Narration in the Fiction Film. Abingdon: Routledge.
Bradshaw, Peter. 2008. The Man from London. Guardian, December 12. http://www.guardian.co.uk/film/2008/dec/12/the-man-from-london-review. Accessed 5 Nov 2017.
Corless, Kieron. 2012. The Turin Horse. Sight & Sound 22 (6): 78–79.
Dargis, Manohla, and A.O. Scott. 2011. In Defense of Slow and Boring. New York Times, June 3. www.nytimes.com/2011/06/05/movies/films-in-defense-of-slow-and-boring.html. Accessed 31 Oct 2017.
de Luca, Tiago. 2014. Realism of the Senses in World Cinema: The Experience of Physical Reality. London: I.B. Tauris.
de Luca, Tiago, and Nuno Barradas Jorge, eds. 2016. Slow Cinema. Edinburgh: Edinburgh University Press.
de Valck, Marijke. 2012. Festival Programming in Historical Perspective. In Coming Soon to a Festival Near You: Programming Film Festivals, ed. Jeffrey Ruoff, 25–40. St Andrews: St Andrews Film Studies.
Doane, Mary Ann. 2002. The Emergence of Cinematic Time: Modernity, Contingency, the Archive. Cambridge, MA: Harvard University Press.
Ferro, Marc. 1988. Cinema and History, trans. Naomi Greene. Detroit: Wayne University Press.
Flanagan, Matthew. 2008. Towards an Aesthetic of Slow in Contemporary Cinema. 16:9, 6 (29). http://www.16-9.dk/2008-11/side11_inenglish.htm. Accessed 25 May 2018.
———. 2012. ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film. PhD Dissertation, University of Exeter.
Galt, Rosalind, and Karl Schoonover, eds. 2010. Global Art Cinema: New Theories and Histories. New York: Oxford University Press.
Jaffe, Ira. 2014. Slow Movies: Countering the Cinema of Action. London: Wallflower Press.
James, Nick. 2010a. Passive Aggressive. Sight & Sound 20 (4): 5.
———. 2010b. Being Boring. Sight & Sound 20 (7): 5.
———. 2013. Any Size That Fits. Sight & Sound 23 (7): 5.
Jeong, Seung-hoon, and Jeremi Szaniawski, eds. 2016. The Global Auteur: The Politics of Authorship in 21st Century Cinema. London: Bloomsbury.
Jones, Kent. 2011. That Was So Then, This Is Totally Now. Film Comment 47 (5): 56–58.
Klinger, Barbara. 1994. Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk. Bloomington: Indiana University Press.
Koehler, Robert. 2009. Cinephilia and Film Festivals. In Dekalog 3: On Film Festivals, ed. Richard Porton, 81–97. London: Wallflower Press.
———. 2012. Twilight Zone: Shadows and Fog in the In-between World of Théo Court’s Ocaso. Museum of Moving Image Website, January 11. http://www.movingimagesource.us/articles/twilight-zone-20120111. Accessed 5 Nov 2017.
Koepnick, Lutz. 2014. On Slowness: Toward an Aesthetic of the Contemporary. New York: Columbia University Press.
———. 2017. The Long Take: Art Cinema and the Wondrous. Minneapolis: University of Minnesota Press.
Kois, Dan. 2011. Eating Your Cultural Vegetables. New York Times, April 29. http://www.nytimes.com/2011/05/01/magazine/mag-01Riff-t.html?_r=0. Accessed 26 Oct 2017.
Lee, Pamela. 2004. Chronophobia: On Time in the Art of the 1960s. Cambridge, MA: MIT Press.
Lim, Song Hwee. 2014. Tsai Ming-liang and a Cinema of Slowness. Honolulu: University of Hawai’i Press.
Mayne, Judith. 1993. Cinema and Spectatorship. London: Routledge.
Miller, Henry. 2013. 1922 Fast, Too Continuous: Fast/Slow Cinema and Modernism. Paper Presented at the Fast/Slow Symposium, Anglia Ruskin University, Cambridge, April 4–5.
Mulvey, Laura. 2006. Death 24x a Second: Stillness and the Moving Image. London: Reaktion Books.
Neale, Steve. 1981. Art Cinema as Institution. Screen 22 (1): 11–40.
Quandt, James. 2009. The Sandwich Process: Simon Field Talks About Polemics and Poetry at Film Festivals. In Dekalog 3: On Film Festivals, ed. Richard Porton, 53–80. London: Wallflower Press.
Rizov, Vadim. 2010. Slow Cinema Backlash. IFC.com, May 12. http://www.ifc.com/fix/2010/05/slow-cinema-backlash. Accessed 5 Nov 2017.
Romney, Jonathan. 2010. In Search of Lost Time. Sight & Sound 20 (2): 43–44.
Schoonover, Karl. 2013. Wastrels of Time: Slow Cinema’s Laboring Body, the Political Spectator, and the Queer. Framework: The Journal of Cinema and Media 53 (1): 65–78.
Shaviro, Steven. 2010. Slow Cinema Vs Fast Films. The Pinocchio Theory, May 12. http://www.shaviro.com/Blog/?p=891. Accessed 5 Nov 2017.
Slow Science Manifesto. 2010. http://www.slow-science.org/. Accessed 5 Nov 2017.
Thompson, Kristin. 1988. Breaking the Glass Armor: Neoformalist Film Analysis. Princeton: Princeton University Press.
Tuttle, Harry. 2010a. Slow Films, Easy Life (Sight&Sound). Unspoken Cinema, May 12. http://unspokencinema.blogspot.co.uk/2010/05/slow-films-easy-life-sight.html. Accessed 5 Nov 2017.
———. 2010b. Slower or Contemplative? Unspoken Cinema, March 17. http://unspokencinema.blogspot.co.uk/2010/03/slower-or-contemplative.html. Accessed 5 Nov 2017.
Tweedie, James. 2013. The Age of New Waves: Art Cinema and the Staging of Globalization. New York: Oxford University Press.
Walsh, Michael. 2014. The First Durational Cinema and the Real of Time. In Slow Cinema, ed. Tiago de Luca and Nuno Barradas Jorge, 59–70. Edinburgh: Edinburgh University Press.
Author information
Authors and Affiliations
Rights and permissions
Copyright information
© 2018 The Author(s)
About this chapter
Cite this chapter
Çağlayan, E. (2018). Slow Cinema in Context. In: Poetics of Slow Cinema. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-96872-8_1
Download citation
DOI: https://doi.org/10.1007/978-3-319-96872-8_1
Published:
Publisher Name: Palgrave Macmillan, Cham
Print ISBN: 978-3-319-96871-1
Online ISBN: 978-3-319-96872-8
eBook Packages: Literature, Cultural and Media StudiesLiterature, Cultural and Media Studies (R0)