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Probably the slowest film I've seen would have been something in a language I didn't really understand with no subtitles. On 7/18/07, Henry Miller <[log in to unmask]> wrote: > "Time may or may not exist" > > I don't know if I'd go that far, but 'slowness' needs thinking out. > What are we measuring 'over time', as it were -- not distance, but > what? > > On 7/18/07, gyoungblood <[log in to unmask]> wrote: > > 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 > > > > > > * > > > * > > > Film-Philosophy salon > > > After hitting 'reply' please always delete the text of the message you are > > > replying to. > > > To leave, send the message: leave film-philosophy to: > > > [log in to unmask] > > > Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html > > > For help email: [log in to unmask], not the salon. > > > * > > > Film-Philosophy journal: http://www.film-philosophy.com > > > Contact: [log in to unmask] > > > ** > > > > > > > * > > * > > Film-Philosophy salon > > After hitting 'reply' please always delete the text of the message you are replying to. > > To leave, send the message: leave film-philosophy to: [log in to unmask] > > Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html > > For help email: [log in to unmask], not the salon. > > * > > Film-Philosophy journal: http://www.film-philosophy.com > > Contact: [log in to unmask] > > ** > > > > * > * > Film-Philosophy salon > After hitting 'reply' please always delete the text of the message you are replying to. > To leave, send the message: leave film-philosophy to: [log in to unmask] > Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html > For help email: [log in to unmask], not the salon. > * > Film-Philosophy journal: http://www.film-philosophy.com > Contact: [log in to unmask] > ** > -- _____________________ http://consulting.purico.jp * * Film-Philosophy salon After hitting 'reply' please always delete the text of the message you are replying to. To leave, send the message: leave film-philosophy to: [log in to unmask] Or visit: http://www.jiscmail.ac.uk/lists/film-philosophy.html For help email: [log in to unmask], not the salon. * Film-Philosophy journal: http://www.film-philosophy.com Contact: [log in to unmask] **