Slow compared to what? The overexcited unconsciousness of commodity cinema?
A pretty pathetic comparison, it seems to me. Slow compared to the passing
of the hours? Are surveillance videos slow (e.g., Michael Klier's Der
Reise)?
Clearly, slow/fast are observations about the subject, not the object. The
undecideable enigma of time problematizes any such discussion from the
beginning, and Bergson, among so many others, nuances the discourse. If
we're into dualisms, I prefer open/closed rather than slow/fast.
I would suggest that Warhol's Eat, Kiss, Sleep, Empire, etc. are not, and
cannot be said to be, ontologically slow. Santantango, on the other hand, is
very slow indeed if one privileges dominant cinema as the reference. Why do
that? Time may or may not exist, but there is always choice. A Slow Film
Festival, for what it would say not only about our acculturation but about
our attention to experience, would inescapably be an embarrassment.
----- Original Message -----
From: "Les Roberts" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, July 18, 2007 2:25 AM
Subject: Re: slow film festival
> Another master of 'slow cinema' and of the use of the sequence shot in
> particular is Theo Angelopolous. His 4 hour epic 'The Travelling Players'
> contains only about 80 shots. The title of his 1998 film 'Eternity and
> Day' was deemed somewhat appropriate by certain critics at the time,
> unaccustomed as they no doubt were to the typically rather slow pace of
> Angelopoulous' work...
>
> Les Roberts
>
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