Publicação
Humanism, landscape and the sequence-shot in Béla Tarr's Sátántangó
| Resumo: | Béla Tarr’s Sátántangó (1994) has been been studied from an aesthetic, political and philosophical perspective, but not from what Tarr and Krasznahorkai consider to be the most important element of their work: the representation of the human condition and dignity. This paper explores how Tarr uses the sequence-shot to represent the dignity of his characters in Sátántangó. Is it possible to identify a specific stylistic pattern in his representation of the human condition? How does Tarr approach the staging of the long take to represent a point of view of humanity? What kind of relationships Tarr establishes between scenarios and characters through camera movement and composition? How do these conceptual relationships contribute to presenting a point of view of the human condition? |
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| Autores principais: | Carmona, Carlos Ruíz |
| Outros Autores: | Aguiar, Ana Catarina |
| Assunto: | Sequence-shot Béla Tarr Slow cinema Hungarian cinema Film narrative Film analysis Plano secuencia Cine lento Cine húngaro Narrativa cinematográfica Análisis fílmico |
| Ano: | 2024 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Universidade Católica Portuguesa |
| Idioma: | inglês |
| Origem: | Veritati - Repositório Institucional da Universidade Católica Portuguesa |
| Resumo: | Béla Tarr’s Sátántangó (1994) has been been studied from an aesthetic, political and philosophical perspective, but not from what Tarr and Krasznahorkai consider to be the most important element of their work: the representation of the human condition and dignity. This paper explores how Tarr uses the sequence-shot to represent the dignity of his characters in Sátántangó. Is it possible to identify a specific stylistic pattern in his representation of the human condition? How does Tarr approach the staging of the long take to represent a point of view of humanity? What kind of relationships Tarr establishes between scenarios and characters through camera movement and composition? How do these conceptual relationships contribute to presenting a point of view of the human condition? |
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