Download film semi korea 2000an8/30/2023 ![]() ![]() ![]() Against this understanding, through a variety of contrasting examples, the article argues that the impression of fastness and that of slowness are both the matter of a tension between different temporalities and a complex combination of heterogeneous film elements, and that the articulation of “fast” and “slow” cinema itself depends less on the formal characteristics of different kinds of film than on a disciplinary understanding of spectatorship, which pretends to derive from these formal characteristics different and unequal forms of film experience.Īs the cinematic experience becomes subsumed into ubiquitous technologies of seeing, contemporary artworks lift the cinematic from the immateriality of the film screen, separating it into its physical components within the gallery space. It is more by this correspondence, I think, than by any of these elements on its own that a certain understanding of “fast” cinema is established. Not only does fast cinema suggest these three characteristics, however, it also suggests that they directly correspond to each other so that, in a “fast” film, fast-paced action would be seamlessly rendered through “fast” cinematic enunciation and this rendering would necessarily result in an escapist, ready-to-consume film product. Considered in its articulation with an idea of “slow” cinema, the label “fast cinema” suggests three characteristics: fast-paced action, hyperkinetic cinematic style, and irreflexive consumption. ![]()
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |