Publicação
Propelling cinema and aesthetics forwards through (un)reality: Pedro Afonso’s take on Roy Andersson’s complex image
| Resumo: | This short piece analyses Pedro Afonso’s video essay on Roy Andersson’s Complex Image, an aesthetic style based on the tableau shot. It proceeds by scrutinizing the relationship Andersson’s aesthetic maintains with painting, slow cinema and political ideology, three aspects connected with realism, one way or the other. By focusing on the operative word “complex”, instead of “image”, this text claims that the Complex Image is not strictly pictorial; that long shots do not necessarily equate with slow cinema; and that there is a strong political engagement alongside an undeniably creative form. |
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| Autores principais: | Chinita, Fátima |
| Assunto: | The complex image Painting Long take Realism The living trilogy Roy Andersson Slow cinema Pedro Afonso |
| Ano: | 2021 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade Politécnica de Lisboa |
| Idioma: | inglês |
| Origem: | Repositório Científico da Universidade Politécnica de Lisboa |
| Resumo: | This short piece analyses Pedro Afonso’s video essay on Roy Andersson’s Complex Image, an aesthetic style based on the tableau shot. It proceeds by scrutinizing the relationship Andersson’s aesthetic maintains with painting, slow cinema and political ideology, three aspects connected with realism, one way or the other. By focusing on the operative word “complex”, instead of “image”, this text claims that the Complex Image is not strictly pictorial; that long shots do not necessarily equate with slow cinema; and that there is a strong political engagement alongside an undeniably creative form. |
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