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Screening boredom: the history and aesthetics of slow cinema

Ça?layan, Orhan Emre (2014) Screening boredom: the history and aesthetics of slow cinema. Doctor of Philosophy (PhD) thesis, University of Kent. (Access to this publication is currently restricted. You may be able to access a copy if URLs are provided)

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This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain

temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies. My original contribution to knowledge is, therefore, a comprehensive account of a global current of cultural practice that offers a radical and at times paradoxical reconsideration of our emotional attachment and intellectual engagement with moving images.The introduction chapter begins with a discussion of the Slow Cinema debate and then establishes the aims of the thesis, its theoretical framework and elaborates on the adopted methodologies, namely formal analysis and aesthetic historiography. Chapter 2 examines Béla Tarr in light of the evolution of the long take and attributes Tarr’s use of this aesthetic device as a nostalgic revision of modernist art cinema. Chapter 3 explores the films of Tsai Ming-liang, which embrace incongruous aesthetic features, envision an absurdist view of life, create humour through duration and are situated within the minimalist trends of the international film festival circuit. Chapter 4 focuses on Nuri Bilge Ceylan, whose films emerge from the aftermath of the collapse of a domestic film industry and intervene into its historical heritage by adopting fundamental features of boredom as well as transforming its idleness into an

between indigenous filmmaking practices and the demands of global art cinema audiences as well as the circulation of art films through networks of film festivals and their respective funding bodies.

Item Type: Thesis (Doctor of Philosophy (PhD))
Additional information: This work has been developed and published as "Poetics of Slow Cinema: Nostalgia, Absurdism, Boredom" and will be published in November by Palgrave. Information can be found in the following link:
Subjects: P Language and Literature > PN Literature (General) > PN1993 Motion Pictures
Divisions: Faculties > Humanities > School of Arts > Film
Faculties > Social Sciences > School of Economics
Depositing User: Clair Waller
Date Deposited: 01 Oct 2014 08:25 UTC
Last Modified: 31 Oct 2019 09:38 UTC
Resource URI: (The current URI for this page, for reference purposes)
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