subject:(Slow Cinema)

Universidade Nova

1. Florêncio, Pedro Miguel Ferreira. Memória do projecto cinco lugares. No exercício da sua função.

Degree: 2014, Universidade Nova

URL: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/14572

► Esta Memória de Projecto Cinco Lugares – No exercício da sua função funciona como um fluxo de ideias livres e inevitavelmente dispersas, que não são… (more)

▼ Esta Memória de Projecto Cinco Lugares – No exercício da sua função funciona como um fluxo de ideias livres e inevitavelmente dispersas, que não são mais que uma consequência do pensamento sobre cada plano, cena e sequência que compõem o filme criado. A tese principal do filme, entre as várias ideias que nele se pretenderam elaborar, encontra reflexos e ressonâncias nas interpretações expressas ao longo dos vários capítulos iniciais. Assim, na Parte I (Caminhos do Tempo), faz-se uma contextualização teórica, com base nos textos de André Bazin, Gilles Deleuze e Marc Augé sobre as concepções de espaço e tempo, e analisam-se algumas das mais radicais obras do cinema contemporâneo (de Yasujirô Ozu, Robert Flaherty, Andy Warhol, Michael Snow a Victor Erice, Wang Bing, Abbas Kiarostami e James Benning). Esta contextualização e análise constituem fundamento à presente Memória, aprofundando-se a possibilidade do Tempo como categoria estrutural principal de um texto fílmico. Na Parte II, dá-se nota do percurso de Cinco Lugares, filme que congrega um conjunto de memórias sobre cinco lugares de uma cidade (Lisboa), ensurdecedora e em crescente movimento, e no qual se procurou registar, plano a plano, essas memórias pela, para usar uma expressão de Tarkovsky, “pressão do tempo no plano”. Iniciado no tempo do silêncio (público) do Pátio da Galé, o filme passou ao espaço privado e interior de uma habitação na Rua Nova do Loureiro, que a arquitectura tão naturalmente separa e resguarda do exterior. Do registo fílmico de um ritual religioso, numa Igreja de convento, transitámos para um dos lugares mais esquecidos da cidade, a Mãe d’Água/ Aqueduto das Águas Livres. Por fim, aportámos num antigo antro de loucura contida, o Pavilhão Panóptico do Hospital Miguel Bombarda, hoje museu de um conjunto de memórias – memórias que também constituem matéria de uma outra memória cinematográfica de João César Monteiro. Em comum, estes cinco lugares têm tudo e não têm nada. São arquitecturas que se estabelecem numa fronteira entre um interior e um exterior. São também matéria própria, constituída por tempos, espaços e identidades totalmente diferentes. São, ainda, cinco tipos de silêncio urbano e momentos de realidade documentados sob uma perspectiva de um mundo em aceleração. Em suma, os capítulos seguintes de ambas as Partes são uma das muitas conversas possíveis e inacabadas, qual coda num trecho musical, a ter sobre o que interessa verdadeiramente neste trabalho de projecto – o filme em si.

Subjects/Keywords: Cinema; Realismo; Estruturalismo; Imagem-Tempo; Slow Cinema; Realism; Structuralism; Time-Image; Slow Cinema

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Florêncio, P. M. F. (2014). Memória do projecto cinco lugares. No exercício da sua função. (Thesis). Universidade Nova. Retrieved from http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/14572

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Florêncio, Pedro Miguel Ferreira. “Memória do projecto cinco lugares. No exercício da sua função.” 2014. Thesis, Universidade Nova. Accessed March 05, 2021. http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/14572.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Florêncio, Pedro Miguel Ferreira. “Memória do projecto cinco lugares. No exercício da sua função.” 2014. Web. 05 Mar 2021.

Vancouver:

Florêncio PMF. Memória do projecto cinco lugares. No exercício da sua função. [Internet] [Thesis]. Universidade Nova; 2014. [cited 2021 Mar 05]. Available from: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/14572.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Florêncio PMF. Memória do projecto cinco lugares. No exercício da sua função. [Thesis]. Universidade Nova; 2014. Available from: http://www.rcaap.pt/detail.jsp?id=oai:run.unl.pt:10362/14572

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Georgia State University

2. Cottrel, Adam. Cinemas of Endurance.

Degree: PhD, Communication, 2017, Georgia State University

URL: https://scholarworks.gsu.edu/communication_diss/87

► Cinemas of Endurance begins by questioning the way in which critics and scholars have addressed art cinema over the last decade, specifically the films… (more)

▼ Cinemas of Endurance begins by questioning the way in which critics and scholars have addressed art cinema over the last decade, specifically the films referred to as “slow cinema.” These films have garnered widespread attention since the start of the 21^st century for how they deploy what many believe to be anachronistic and redundant formal techniques, often discussed in terms of nostalgia and pastiche. This dissertation argues that these films have been unfairly couched within this discourse that largely judges their validity based on their stylistic similarities to the art cinema of the 1960s and 1970s. Breaking from this direction, this project proposes we take these films and their aesthetic seriously, not for stubbornly refuting the prevailing formal trends in filmmaking, but for how it creates a critical optic that grants us a greater capacity to recognize some of the most prevailing social, political, and economic issues of the last decade. Further, by using stylistic techniques that can often register as out of place, or protracted, these films can help us to understand the way our physical, mental, and affective coordinates have shifted in this historical moment. Each chapter of this dissertation takes an exemplary film from this subset of art cinema and addresses how the aesthetic works against established modes of viewing to render visible modalities of life that often escape critical ire because they are expected. This project relies on the theories and methodologies of film and media studies, aesthetic theory, realism, materialism, accelerationism, cultural studies, continental philosophy, and political philosophy. The films and filmmakers analyzed include: The Limits of Control (2009), dir. Jim Jarmusch; Ossos (1997), In Vanda’s Room (2000), and Colossal Youth (2006), dir. Pedro Costa; Dogville (2003), dir. Lars von Trier; and, 2046 (2004), dir. Wong Kar-wai. Advisors/Committee Members: Angelo Restivo, Alessandra Raengo, Jennifer Barker, Davide Panagia.

Subjects/Keywords: ACCELERATIONISM; AESTHETICS; SLOW CINEMA; ART CINEMA; STYLE; CORPOREALITY

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Cottrel, A. (2017). Cinemas of Endurance. (Doctoral Dissertation). Georgia State University. Retrieved from https://scholarworks.gsu.edu/communication_diss/87

Chicago Manual of Style (16^th Edition):

Cottrel, Adam. “Cinemas of Endurance.” 2017. Doctoral Dissertation, Georgia State University. Accessed March 05, 2021. https://scholarworks.gsu.edu/communication_diss/87.

MLA Handbook (7^th Edition):

Cottrel, Adam. “Cinemas of Endurance.” 2017. Web. 05 Mar 2021.

Vancouver:

Cottrel A. Cinemas of Endurance. [Internet] [Doctoral dissertation]. Georgia State University; 2017. [cited 2021 Mar 05]. Available from: https://scholarworks.gsu.edu/communication_diss/87.

Council of Science Editors:

Cottrel A. Cinemas of Endurance. [Doctoral Dissertation]. Georgia State University; 2017. Available from: https://scholarworks.gsu.edu/communication_diss/87

University of St. Andrews

3. Popa, Emilia Diana. The specificity of the aesthetics of slowness in contemporary Romanian cinema .

Degree: 2018, University of St. Andrews

URL: http://hdl.handle.net/10023/14124

► Contemporary Romanian cinema, particularly in its internationally successful instances, displays formal characteristics that have often led to its being seen in terms of the so-called… (more)

▼ Contemporary Romanian cinema, particularly in its internationally successful instances, displays formal characteristics that have often led to its being seen in terms of the so-called Slow Cinema trend in contemporary cinema. This thesis proposes that there is something distinctive about slowness in contemporary Romanian films, similar to and yet different from Slow Cinema. Through a detailed analysis of films made by Cristi Puiu and Cristian Mungiu, two of the most representative contemporary Romanian filmmakers, Romanian slow films emerge as a less stringent form of slowness characterised by tension. This thesis first looks at some of the ways in which slowness can be developed in film - through the use of the long take and the trope of waiting along with the use of stillness and silence. Within this slowness an attitude of contemplation emerges, a characteristic that is key to Slow Cinema. Through close textual analysis of a number of films with a reputation for slowness, both classic and more recent examples, this thesis looks at how the techniques used to develop slowness in film allow for variation and how they can be used not only to create this attitude of contemplation but also to create tension. While this aspect has been less discussed with the more prevalent focus on Slow Cinema and its themes of contemplation, tension can be identified in a variety of films, both those considered part of Slow Cinema and those considered slow films. The distinctiveness of slowness in contemporary Romanian cinema is partly to do with its being rooted in Romanian culture. This study looks at Romanian cinematic and cultural inheritance, specifically at how slowness figures in this history. This thesis contributes to the existing body of research on contemporary Romanian cinema addressing its most salient characteristic, its sense of slowness, by placing it in relation to wider discussions about slowness and Slow Cinema as well as by linking its distinctiveness to wider cultural notions and practices of temporal organisation as well as the social history of the nation. Advisors/Committee Members: Dyer, Richard (advisor).

Subjects/Keywords: Slow cinema; Slowness; Aesthetics of slowness; Romanian cinema; Tension; Contemplation; Communism; Post-communism

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Popa, E. D. (2018). The specificity of the aesthetics of slowness in contemporary Romanian cinema . (Thesis). University of St. Andrews. Retrieved from http://hdl.handle.net/10023/14124

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Popa, Emilia Diana. “The specificity of the aesthetics of slowness in contemporary Romanian cinema .” 2018. Thesis, University of St. Andrews. Accessed March 05, 2021. http://hdl.handle.net/10023/14124.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Popa, Emilia Diana. “The specificity of the aesthetics of slowness in contemporary Romanian cinema .” 2018. Web. 05 Mar 2021.

Vancouver:

Popa ED. The specificity of the aesthetics of slowness in contemporary Romanian cinema . [Internet] [Thesis]. University of St. Andrews; 2018. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/10023/14124.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Popa ED. The specificity of the aesthetics of slowness in contemporary Romanian cinema . [Thesis]. University of St. Andrews; 2018. Available from: http://hdl.handle.net/10023/14124

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

4. Morales Junior, Wagner Perez. O mundo dos monstros. Estudo sobre France/tour/détour/deux/enfants, de Jean-Luc Godard e Anne-Marie Miéville.

Degree: Mestrado, Estudo dos Meios e da Produção Mediática, 2011, University of São Paulo

URL: http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22032012-093509/ ;

►

France/tour/détour/deux/enfants é uma série produzida em 1979 por Jean-Luc Godard e Anne-Marie Miéville para a televisão francesa que foi ao ar em abril de 1980… (more)

▼

France/tour/détour/deux/enfants é uma série produzida em 1979 por Jean-Luc Godard e Anne-Marie Miéville para a televisão francesa que foi ao ar em abril de 1980 pelo canal Antenne 2. Esta dissertação tem como objetivo contextualizar essa fase da obra godardiana em parceria com Miéville, indicando procedimentos internos à produção dessa série que cristalizaram o processo de experimentação iniciado por Godard em trabalhos antecedentes (sobretudo nas produções com o Grupo Dziga Vertov, assim como na série Six fois deux: sur et sous la communication, de 1976) e que desaguaram na sua produção posterior em vídeo, particularmente Histoire(s) du Cinéma (1989). Este trabalho é dividido em dois capítulos: Tour e Détour. O primeiro situa historicamente a produção da série, contextualizando o diálogo que ela estabelece com videoartistas contemporâneos a Godard e Miéville que, desde o final da década de 1960, viam a televisão como um lugar passível de ser povoado pela arte. O segundo capítulo, Détour, parte da noção de desvio e busca investigar como ela se materializa na construção formal da série. Nesse sentido, o texto incorpora a própria noção de desvio a fim de propor uma análise da obra que privilegia alguns de seus elementos: o quadro, a margem, a manifestação do feminino, o uso do slow motion, os gestos e o rosto. A conclusão aponta para o esquecimento ao qual France/tour/détour/deux/enfants foi submetida como um exemplo da tendência televisiva em anular toda e qualquer tentativa de criação de caráter experimental e crítico realizada em seu seio, seja fadando-as à desaparição, seja relegando-as a um estado de exceção.

France/tour/détour/deux/enfants is a TV show in 12 episodes produced by Jean-Luc Godard and Anne-Marie Miéville for the French television in 1979. The series was broadcast in April 1980, by the channel Antenne 2. This dissertation is aimed at contextualizing this period of Godards work in partnership with Miéville, and indicating internal procedures of this series which crystallized the experimental process initiated by Godard in his early works (especially with the Dziga Vertov Group, as well as in the previous TV series Six fois deux, sur et sous la communication, 1976), and which would lead to his later video production, particularly Histoire(s) du Cinéma (1989). This work is divided into two chapters: Tour and Détour. The first chapter historically situates the production years of the series and contextualizes the dialogue it establishes with video-artists from those years, who started to see television as a place that could be occupied by art. The second chapter takes the concept of detour as its starting point and proposes an analysis on how one can see this notion in the formal construction of the series. In this sense, I incorporated the very notion of detour in order to propose an analysis that would favor some of the works elements: the frame, the margin, the manifestation of the feminine, the use of slow motion, the gestures and the face. The conclusion indicates how…

Advisors/Committee Members: Machado Junior, Rubens Luis Ribeiro.

Subjects/Keywords: Anne-Marie Miéville; Anne-Marie Miéville; cinema; cinema; desvio; detour; deviation; Jean-Luc Godard; Jean-Luc Godard; slow motion; slow motion; televisão; television; video; vídeo; videoart; videoarte

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Morales Junior, W. P. (2011). O mundo dos monstros. Estudo sobre France/tour/détour/deux/enfants, de Jean-Luc Godard e Anne-Marie Miéville. (Masters Thesis). University of São Paulo. Retrieved from http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22032012-093509/ ;

Chicago Manual of Style (16^th Edition):

Morales Junior, Wagner Perez. “O mundo dos monstros. Estudo sobre France/tour/détour/deux/enfants, de Jean-Luc Godard e Anne-Marie Miéville.” 2011. Masters Thesis, University of São Paulo. Accessed March 05, 2021. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22032012-093509/ ;.

MLA Handbook (7^th Edition):

Morales Junior, Wagner Perez. “O mundo dos monstros. Estudo sobre France/tour/détour/deux/enfants, de Jean-Luc Godard e Anne-Marie Miéville.” 2011. Web. 05 Mar 2021.

Vancouver:

Morales Junior WP. O mundo dos monstros. Estudo sobre France/tour/détour/deux/enfants, de Jean-Luc Godard e Anne-Marie Miéville. [Internet] [Masters thesis]. University of São Paulo; 2011. [cited 2021 Mar 05]. Available from: http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22032012-093509/ ;.

Council of Science Editors:

Morales Junior WP. O mundo dos monstros. Estudo sobre France/tour/détour/deux/enfants, de Jean-Luc Godard e Anne-Marie Miéville. [Masters Thesis]. University of São Paulo; 2011. Available from: http://www.teses.usp.br/teses/disponiveis/27/27153/tde-22032012-093509/ ;

University of Exeter

5. Passes, D. Gone to Earth : cinematic encounters with the British rural landscape.

Degree: PhD, 2020, University of Exeter

URL: http://hdl.handle.net/10871/122070

► Through a synthesis of critical and practical research, this thesis looks beyond semiotic approaches to film landscape which consistently view the representation of countryside in… (more)

▼ Through a synthesis of critical and practical research, this thesis looks beyond semiotic approaches to film landscape which consistently view the representation of countryside in film as a metonym for the national. My research is concerned instead with an interaction with land which is experiential, embodied and felt. Considering the ways in which landscape imprints itself upon our physical and spiritual selves, the thesis investigates rural space through the sensorium of the body, engaging with both the elemental properties of soil and stone and the substrata of myth, memory and dream to formulate a model for an embodied and enchanted British landscape cinema. Within a framework of film phenomenology, the thesis questions aesthetic readings of film landscape borrowed from art history and looks instead to anthropological conceptions of landscape as dwelt space, the result of a persistent communion between occupant and land. Considering landscape and the natural sublime from gendered perspectives, as products of a male gaze reinforcing men’s domination over women and nature, the thesis proposes an alternative conception of landscape and sublimity which are rooted in material immanence rather than transcendental distance. Through this process, the work advocates a new kind of occupation of the British countryside which challenges human sovereignty over nature and resists the colonial hegemonies of ownership and possession. My practical enquiry into landscape and rurality is informed by my work as cinematographer, sound recordist and sound editor. Through this multidisciplinary approach, the research questions the primacy of vision in cinema’s representation of countryside. Contributing to discourse on soundscape, film sound and field recording, the thesis contends that ocularcentric interpretations of landscape often estrange and exile us from the land whilst sound-led filmmaking approaches invite us towards it. The thesis enquires about cinematic rural space from perspectives of film realism and proposes an alternative, hybridised model of realism to account for our occupancy of the countryside. Drawing from diverse magical realist film texts as well as existing discourse on magical realism, my work speculates that the imbrication of realism and fable grants access to long repressed systems of thought within the countryside and, crucially, places human creative imagination at the centre of our sensorial engagement with rural space. In their different approaches to sounding and visualising the countryside, the two films which comprise my practical research enable us, as filmmaker and viewer, to consider how imaginary, non-naturalistic representations of the rural help to reclaim the British countryside for ourselves.

Subjects/Keywords: landscape; film realism; slow cinema; soundscape; film sound; rural space; ambient sound; field recording; embodiment; rural cinema

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Passes, D. (2020). Gone to Earth : cinematic encounters with the British rural landscape. (Doctoral Dissertation). University of Exeter. Retrieved from http://hdl.handle.net/10871/122070

Chicago Manual of Style (16^th Edition):

Passes, D. “Gone to Earth : cinematic encounters with the British rural landscape.” 2020. Doctoral Dissertation, University of Exeter. Accessed March 05, 2021. http://hdl.handle.net/10871/122070.

MLA Handbook (7^th Edition):

Passes, D. “Gone to Earth : cinematic encounters with the British rural landscape.” 2020. Web. 05 Mar 2021.

Vancouver:

Passes D. Gone to Earth : cinematic encounters with the British rural landscape. [Internet] [Doctoral dissertation]. University of Exeter; 2020. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/10871/122070.

Council of Science Editors:

Passes D. Gone to Earth : cinematic encounters with the British rural landscape. [Doctoral Dissertation]. University of Exeter; 2020. Available from: http://hdl.handle.net/10871/122070

6. Lindell, Björn. Ett spöke från förr : Norsk sakte-TV och den tidiga filmens phantom rides.

Degree: Cinema Studies, 2018, Stockholm University

URL: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152352

► Denna studie jämför de nya norska tågresefilmerna inom så kallad sakte-TV (eller Slow TV) med den tidiga filmens phantom rides. I båda fallen dominerar… (more)

Subjects/Keywords: Slow TV; sakte-TV; phantom ride; early cinema; cinema of attractions; tågresor; narration; mediearkeologi; Studies on Film; Filmvetenskap

…narrativa filmen. Han använder begreppet “cinema of attractions” (en term myntad tillsammans… …Press, 2012), 3. Ibid., 5. 23 Tom Gunning, ”The Cinema of Attractions: Early Film, Its… …Spectator and the Avant-Garde”, i Early cinema: space frame narrative, red. Thomas Elsaesser… …x28;1899): G.A. Smith and the Emergence of the Edited Film in England”, i The Silent Cinema… …Narrative”, i Early cinema: space frame narrative, red. Thomas Elsaesser (London: BFI…

5 more images…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Lindell, B. (2018). Ett spöke från förr : Norsk sakte-TV och den tidiga filmens phantom rides. (Thesis). Stockholm University. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152352

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Lindell, Björn. “Ett spöke från förr : Norsk sakte-TV och den tidiga filmens phantom rides.” 2018. Thesis, Stockholm University. Accessed March 05, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152352.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Lindell, Björn. “Ett spöke från förr : Norsk sakte-TV och den tidiga filmens phantom rides.” 2018. Web. 05 Mar 2021.

Vancouver:

Lindell B. Ett spöke från förr : Norsk sakte-TV och den tidiga filmens phantom rides. [Internet] [Thesis]. Stockholm University; 2018. [cited 2021 Mar 05]. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152352.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Lindell B. Ett spöke från förr : Norsk sakte-TV och den tidiga filmens phantom rides. [Thesis]. Stockholm University; 2018. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-152352

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

University of New South Wales

7. Tavanaye Manafi, Keyvan. Facing images: ethics, realisms, and the cinematographic eye.

Degree: Arts and Media, 2018, University of New South Wales

URL: http://handle.unsw.edu.au/1959.4/60055 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:51308/SOURCE02?view=true

► This dissertation enquires into the consequences of Levinas’ philosophy of ethics for cinematic aesthetics. Levinas’ iconoclastic conception of ethics as ‘a vision without image’ famously… (more)

▼ This dissertation enquires into the consequences of Levinas’ philosophy of ethics for cinematic aesthetics. Levinas’ iconoclastic conception of ethics as ‘a vision without image’ famously derides the image by understanding it as necessarily acquisitive and reductive. It is tied to representation and thus to a work of making meaningful by returning the other to the familiar. What is therefore banished by the image, according to Levinas, is a genuine otherness that resides in the immediacy of the encounter with the ‘face’ of other and the call to responsibility that the encounter involves. Reading Levinas against himself, this thesis challenges his antipathy for the image. I propose that, in developing his concept of the face for establishing the parameters of the self’s exposure to the other, Levinas’ ethics bears directly on the viewer’s relation to the cinematic image. The face of the other is where the ethical breaks through the visual but also disrupts the latter precisely because the face is indissociable from the movement of ‘facing’. To be a face or to have a face harbours the verb to face. It is making an entry within the visual but also withdrawing from it, remaining irreducible to the image the face leaves behind. This thesis puts the cinematic image in contact with this conception of the face. Instead of conceiving the image as a copy of the world or as an object in the world, this thesis asks what it means to say that the cinematic image faces the viewer by presenting itself to the eye and addressing the viewer without that address being reducible to meaning. The idea of facing is brought to bear on both the automatism of the cinematographic machine that records the body of the other and the duration of the image that hosts this encounter. At its degree zero, the filmed body of the other is a physicality summoned by the camera and enveloped in duration. In so far as the camera is non-selective and indifferent to the profilmic body, it records the other without presuming the descriptive or narrative value of the body that is made available to its gaze. As such, the automatic rendering of the body by the camera brings to life what is contingent and particular and ensures that the filmed body is always already too much, is uncontainable as visual content. The cinematic image has the potential to think the tension between the ethical and the visual by staging the withdrawal of the filmed body of the other.Focusing on the uniquely visual being of the cinematic image, this thesis investigates how a handful of films have secured an approach to the cinematic image that is consistent with the ethics that Levinas derives from the notion of facing. While the dominant traditions of cinematic narrative reduce all that is in the image to the telos of meaning and visibility, this thesis analyses filmic experimentations that engage in a certain critical negotiation with the excesses of film’s presentation of the body. Chantal Akerman’s Jeanne Dielman (1975), Gus Van Sant’s Elephant (2003), and Pedro Costa’s Ossos (1997)… Advisors/Committee Members: Trahair, Lisa, Arts and Media, Faculty of Arts & Social Sciences, UNSW, Phillips, James, Philosophy, Faculty of Arts & Social Sciences, UNSW.

Subjects/Keywords: Film; Ethics; Realism; Emmanuel Levinas; Pedro Costa; The other; Subaltern; Profilmic; The body; Hospitality; Cinematographic eye; Inhuman eye; The image; The face; Andre Bazin; Automatism; Duration; Slow cinema; Chantal Akerman; Gus Van Sant

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Tavanaye Manafi, K. (2018). Facing images: ethics, realisms, and the cinematographic eye. (Doctoral Dissertation). University of New South Wales. Retrieved from http://handle.unsw.edu.au/1959.4/60055 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:51308/SOURCE02?view=true

Chicago Manual of Style (16^th Edition):

Tavanaye Manafi, Keyvan. “Facing images: ethics, realisms, and the cinematographic eye.” 2018. Doctoral Dissertation, University of New South Wales. Accessed March 05, 2021. http://handle.unsw.edu.au/1959.4/60055 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:51308/SOURCE02?view=true.

MLA Handbook (7^th Edition):

Tavanaye Manafi, Keyvan. “Facing images: ethics, realisms, and the cinematographic eye.” 2018. Web. 05 Mar 2021.

Vancouver:

Tavanaye Manafi K. Facing images: ethics, realisms, and the cinematographic eye. [Internet] [Doctoral dissertation]. University of New South Wales; 2018. [cited 2021 Mar 05]. Available from: http://handle.unsw.edu.au/1959.4/60055 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:51308/SOURCE02?view=true.

Council of Science Editors:

Tavanaye Manafi K. Facing images: ethics, realisms, and the cinematographic eye. [Doctoral Dissertation]. University of New South Wales; 2018. Available from: http://handle.unsw.edu.au/1959.4/60055 ; https://unsworks.unsw.edu.au/fapi/datastream/unsworks:51308/SOURCE02?view=true

University of Stirling

8. Mai, Nadin. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.

Degree: PhD, 2015, University of Stirling

URL: http://hdl.handle.net/1893/22990

► Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema… (more)

▼ Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.

Subjects/Keywords: film; Slow Cinema; cinema; Lav Diaz; Philippines; history; memory; trauma; PTSD; concentrationary; terror; extrajudicial killings; torture; rape; post-trauma; Death in the Land of Encantos; Melancholia; Florentina Hubaldo CTE; Trauma Cinema; Janet Walker; Roger Luckhurst; Susannah Radstone; aesthetics; duration; absence; latency period; instantaneity; flashbacks; anxiety; Cathy Caruth; Raya Morag; failed witnessing; Trauma Studies; Philippine Cinema; trauma therapy; sound; silence; framing; ghosts; haunting; Béla Tarr; Tsai Ming-liang; Apichatpong Weerasethakul; Ari Folman; Rithy Panh; Waltz with Bashir; time; long-take; colonialism; oppression; psyche; poverty; Martial Law; l’univers concentrationnaire; hamlets; speed; off-screen space; temporality; power; psychological warfare; mental paralysis; the disappeared; chronic trauma; backstory wounds; repetition; circularity; post-traumatic cinema; death; depletion; ethics; atrocity; painting; landscape painting; Rückenfigur; Chinese painting; accousmêtre; accousmatic; mourning; grief; Slow cinema; Diaz, Lav, 1958- Filmmaker; Motion picture producers and directors Philippines

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Mai, N. (2015). The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. (Doctoral Dissertation). University of Stirling. Retrieved from http://hdl.handle.net/1893/22990

Chicago Manual of Style (16^th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Doctoral Dissertation, University of Stirling. Accessed March 05, 2021. http://hdl.handle.net/1893/22990.

MLA Handbook (7^th Edition):

Mai, Nadin. “The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz.” 2015. Web. 05 Mar 2021.

Vancouver:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Internet] [Doctoral dissertation]. University of Stirling; 2015. [cited 2021 Mar 05]. Available from: http://hdl.handle.net/1893/22990.

Council of Science Editors:

Mai N. The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz. [Doctoral Dissertation]. University of Stirling; 2015. Available from: http://hdl.handle.net/1893/22990

9. Keeley, Timothy. A Phenomenological Approach to the Later Films of Terrence Malick.

Degree: MLA, Liberal Arts, 2017, Washington University in St. Louis

URL: https://openscholarship.wustl.edu/art_sci_etds/1070

► The cinematic legacy of Terrence Malick, while not settled because the director still lives and makes films, is already a turbulent one. A reclusive philosophy… (more)

▼ The cinematic legacy of Terrence Malick, while not settled because the director still lives and makes films, is already a turbulent one. A reclusive philosophy student, Malick’s early output accumulated admiration when Malick disappeared from cinema for twenty years. Like so many great 20th-century artists, including J.D. Salinger and Thomas Pynchon, Malick’s absence grew his legend, so his return was welcomed with anticipation and acclaim. As Malick’s output becomes more frequent, though, some are growing cold to his work, asserting that it is repetitive and pretentious, and borders on self-parody. Still others charge that Malick was only regarded as a genius because his mythic status remained shrouded in mystery. However, I argue Malick’s career turned with the release of his 2011 film The Tree of Life. While a preoccupation with the beauty of nature and the duality of man floods Malick’s previous films, each film from 2011 to present has ventured farther away from traditional narrative structure and the audience’s expectations of contemporary American cinema and closer to a cinematic memoir that blends aesthetic experimentation with a deep interest in the historically-influential philosophical notions of immanence and transcendence. While the philosophy of Malick’s films is recognizably Christian, as many critics and scholars will note, it runs deeper than that. Malick is concerned with the possibility of the human encounter with the sublime to, as Schopenhauer would describe, awaken self-consciousness. However, while Schopenhauer would have self-consciousness liberating itself from the will, Malick’s account of the sublime and human exaltation reaffirms the individual (his will and his intellect, among other things) through self-consciousness that results from a recognition of each individual person as also being a part of the story of humanity. In doing so, Malick’s phenomenology more closely resembles Heidegger’s “fundamental ontology” and conception of Being as “grounded” in, yet distinct from, a being. Understood this way, Malick’s choice to eschew traditional characterization in his films supports their philosophical interests. Likewise, his cinematography and editing patterns evoke the power of cinema to present memory as associated logic and time as free from linearity. My project will also include the study of neurocinematics to explore how Malick’s experimental aesthetics both underline his philosophical ideas and create a divisive experience for the audience. Particular attention will be paid to shot composition, elements of mise-en-scène, and editing techniques, specifically the duration of individual shots and the effect of juxtaposing different scenes together, to create an associative meaning only possible through non-narrative cinema. Finally, I will show how all of this makes for a Romantic humanism, which Harold Bloom would describe as “an attempt to transcend the human without forsaking humanism.” Traditionally, transcendence is understood as that which goes beyond the physical… Advisors/Committee Members: Stamos Metzidakis, Mark Rollins, Ignacio Sanchez Prado.

Subjects/Keywords: Neurocinematics, Slow Cinema, Phenomenology in Film Studies, Terrence Malick; Continental Philosophy; Film and Media Studies; Other Philosophy

…practitioners of “Slow Cinema,” the patron saints of the slow and the boring. This tag, the slow and… …culture war at the heart of slow and boring cinema, that’s difficulty somehow excludes the… …cinematography and editing patterns evoke the power of cinema to present memory as associated logic and… …only possible through non-narrative cinema. Finally, I will show how all of this makes for a… …expectations of narrative cinema and establish its own cinematic grammar. The philosophical concerns…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Keeley, T. (2017). A Phenomenological Approach to the Later Films of Terrence Malick. (Thesis). Washington University in St. Louis. Retrieved from https://openscholarship.wustl.edu/art_sci_etds/1070

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Keeley, Timothy. “A Phenomenological Approach to the Later Films of Terrence Malick.” 2017. Thesis, Washington University in St. Louis. Accessed March 05, 2021. https://openscholarship.wustl.edu/art_sci_etds/1070.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Keeley, Timothy. “A Phenomenological Approach to the Later Films of Terrence Malick.” 2017. Web. 05 Mar 2021.

Vancouver:

Keeley T. A Phenomenological Approach to the Later Films of Terrence Malick. [Internet] [Thesis]. Washington University in St. Louis; 2017. [cited 2021 Mar 05]. Available from: https://openscholarship.wustl.edu/art_sci_etds/1070.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Keeley T. A Phenomenological Approach to the Later Films of Terrence Malick. [Thesis]. Washington University in St. Louis; 2017. Available from: https://openscholarship.wustl.edu/art_sci_etds/1070

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

10. Ekenberg, Jonatan. Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema.

Degree: Film and Literature, 2015, Linnaeus University

URL: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289

► Uppsatsens syfte ligger i att undersöka huruvida filmteoretikern David Bordwells två inflytelserika berättarmodeller från 1980-talet fortfarande återfinns inom samtida filmproduktion. Jag fördjupar mig i… (more)

Subjects/Keywords: narration; art-cinema narration; David Bordwell; Slow cinema; Matthew Flanagan; Gravity; Alfonso Cuarón; classical narration; Hollywood; Berättarmodeller; David Bordwell; Slow cinema; Matthew Flanagan; Gravity; Alfonso Cuarón; klassiskt berättande; Hollywoodfilm; konstfilmsberättande; konstfilm; konventioner; normer; samspel; film; hybridfilm; dramaturgi; Studies on Film; Filmvetenskap

…formatet slow cinema inom olika områden (konstfilm eller kommersiella produktioner). En… …uppfylla mitt syfta utgår jag ifrån följande frågeställning. 1. Vad innebär slow cinema i dagens… …filmklimat? 2. Hur fungerar typiska element från slow cinema i ett klassisk- respektive… …fördjupar mig inte i att problematisera definitionen av formatet slow cinema, utan grundar min… …historiska perspektivet på utvecklingen av slow cinema, som Flanagan presenterar, kommer jag inte…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Ekenberg, J. (2015). Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema. (Thesis). Linnaeus University. Retrieved from http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Ekenberg, Jonatan. “Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema.” 2015. Thesis, Linnaeus University. Accessed March 05, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Ekenberg, Jonatan. “Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema.” 2015. Web. 05 Mar 2021.

Vancouver:

Ekenberg J. Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema. [Internet] [Thesis]. Linnaeus University; 2015. [cited 2021 Mar 05]. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Ekenberg J. Olika leka bäst : En studie i samspel mellan olika berättarmodeller och element från slow cinema. [Thesis]. Linnaeus University; 2015. Available from: http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-40289

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

11. Trueman, Matthew S. Slower Than Time Itself.

Degree: 2018, University of Western Ontario

URL: https://ir.lib.uwo.ca/etd/5391

► This paper is combined with my Master of Fine Art thesis exhibition, Slower Than Time Itself. There is a significant discontinuity between how duration is… (more)

Subjects/Keywords: Time; Aesthetic Slowness; Escapement; Duration; Multiplicity; Slow Cinema; Art and Design; Art Practice; Audio Arts and Acoustics; Interactive Arts; Interdisciplinary Arts and Media

…in a time based medium by utilizing the tenants of Slow Cinema which will be expanded upon… …that technology, be it books or cinema is Western Culture’s primary “act of inheritance [… …became an evolutionary pathway, there has been one long movement, initially slow, but speeding… …the cinema “in its very principle of joining, or montaging, disparate elements into a single… …one’s cultural linkage to the past. As seen earlier, even the cinema which to Stiegler…

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6^th Edition):

Trueman, M. S. (2018). Slower Than Time Itself. (Thesis). University of Western Ontario. Retrieved from https://ir.lib.uwo.ca/etd/5391

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Chicago Manual of Style (16^th Edition):

Trueman, Matthew S. “Slower Than Time Itself.” 2018. Thesis, University of Western Ontario. Accessed March 05, 2021. https://ir.lib.uwo.ca/etd/5391.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

MLA Handbook (7^th Edition):

Trueman, Matthew S. “Slower Than Time Itself.” 2018. Web. 05 Mar 2021.

Vancouver:

Trueman MS. Slower Than Time Itself. [Internet] [Thesis]. University of Western Ontario; 2018. [cited 2021 Mar 05]. Available from: https://ir.lib.uwo.ca/etd/5391.

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

Council of Science Editors:

Trueman MS. Slower Than Time Itself. [Thesis]. University of Western Ontario; 2018. Available from: https://ir.lib.uwo.ca/etd/5391

Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation

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Open Access Theses and Dissertations