The Long Take in Contemporary European Cinema
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The Long Take in Contemporary European Cinema Melanie Robson A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy ~ UNSW AUS T RA LI A School of the Arts & Media Faculty of Arts & Social Sciences December 2017 PLEASE TYPE THE UNIVERSITY OF NEW SOUTH WALES Thesis/Dissertation Sheet Surname or Family name: ROBSON First name: MELANIE Other name/s: ROSE Abbreviation for degree as given in the University calendar: PhD School: School of the Arts & Media Faculty: Faculty of Arts & Social Sciences Title: The Long Take in Contemporary European Cinema Abstract 350 words maximum: (PLEASE TYPE) This thesis examines the formal and aesthetic implications of the long take in contemporary European cinema. Ongoing debates around ‘slow cinema’ historically isolate the use of the long take by framing its appeal to viewers and filmmakers as a reaction to the quickening pace of Hollywood cinema. In so doing, these debates make insufficient acknowledgement of the long take’s evolution and principal function within contemporary cinema, and its fundamental connection to the history of film style. This thesis addresses this shortcoming by examining the long take from a formal and historical perspective, using case studies of four directors: Theo Angelopoulos, Béla Tarr, Michael Haneke and Alexander Sokurov. First, I interrogate how form is connected to questions of meaning and interpretation. I argue these directors are unified by not just their aesthetic tendencies, but also their shared experience of significant political and social upheaval. Their adoption of radical cinematic technique reforms modes of representation involving the long take, which allows them to profoundly express their new experiences of reality. I argue this principally occurs in both overt and implicit stagings of meaning in the mise-en-scène that rely on the long take’s expanded duration. Second, I examine the formal heritage of the long take. To achieve this historical framing, I draw on David Bordwell’s work on the history of film style. Rather than positioning style as simply an aesthetic choice, Bordwell understands style as a solution to a practical problem influenced by political, technical and aesthetic limitations. With this approach, I argue that, through the long take, a narrative of stylistic progression can be traced through these filmmakers. By analysing the specific operations of the long take, this thesis questions what implications emerge for the film’s meaning in its negotiation of history, politics, and technological development when examined through the lens of a single technique. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed ~- Date 31 Jo~ /2017 COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation.' Signed Date AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format.’ Signed Date PUBLICATIONS Sections of this work have been published: Robson, Melanie. “Complicity, intimacy and distance: re-examining the active viewer in Michael Haneke’s Amour.” Studies in European Cinema 14, no. 2 (2017): 103-117. iii ACKNOWLEDGEMENTS My first thanks goes to my supervisor, Prof. George Kouvaros. He has provided me with unwavering support throughout my candidature, and has truly gone above and beyond the call of duty. I am hugely grateful for his dedication and patience in helping me shape my work, challenging my ideas, teaching me how to write, and for our conversations that have transformed the way I think about film. I’m thankful for his mentorship, not just through my doctoral candidature but also in the years before. Thanks also to my co-supervisor, Dr. Michelle Langford, who provided invaluable feedback on numerous drafts. She has introduced me to cinema I’d have never otherwise encountered. I’m appreciative of the strong community of film students she has brought together in various forms, particularly the reading group at the start of my candidature. I am grateful to the School of the Arts & Media and the admin staff, particularly Julie Miller, Dave Buckley, Katrina Plume, and Angela Bradburn. Thanks to the postgraduate co-ordinators during my candidature—Dorottya Fabian and Chris Danta—who have offered huge support and made the PhD experience a little easier. Thanks to Angelos Koutsourakis and Greg Dolgopolov, my annual progress review readers—your feedback was thorough, thoughtful, and valuable. I am grateful for receiving an Australian Postgraduate Award and a Research Excellence Award to support my research. The Sydney Screen Studies Network seminars have helped me grow as a scholar— thanks to everyone who makes them happen. Special thanks to my fellow Network co- founders, friends, and colleagues, Jessica Ford and Phoebe Macrossan. Our chats, texts, gifs, and endless coffees have been everything over the past few years. I’m very grateful to those who’ve read and commented on my work, and been amazing writing retreat buddies—Sameera Durrani, Tanya Thaweeksulchai, Shaun Bell, Jayne Chapman, Klāra Brūveris, and Lisa Dowdall. Thanks to my Webster 257 labmates for all the drinks and moral support! To my best friend and honorary sister, Maree Zaferis: I know you never understood exactly what it is I do, but thanks for all the cheese, lavosh, holidays, promises of holidays, (attempts at) making me physically fit, and progress-check texts. I’m hugely indebted to my family for the invaluable moral, emotional and financial support. I couldn’t have done this without you. To my sister, Amelia: thanks for being my film festival buddy, and getting me to the cinema more than I could myself. Thanks to my mum for her advice and dedicated, tireless proofreading of this thesis. iv ABSTRACT This thesis examines the formal and aesthetic implications of the long take in contemporary European cinema. Ongoing debates around ‘slow cinema’ historically isolate the use of the long take by framing its appeal to viewers and filmmakers as a reaction to the quickening pace of Hollywood cinema. In so doing, these debates make insufficient acknowledgement of the long take’s evolution and principal function within contemporary cinema, and its fundamental connection to the history of film style. This thesis addresses this shortcoming by examining the long take from a formal and historical perspective, using case studies of four directors: Theo Angelopoulos, Béla Tarr, Michael Haneke and Alexander Sokurov. First, I interrogate how form is connected to questions of meaning and interpretation. I argue these directors are unified by not just their aesthetic tendencies, but also their shared experience of significant political and social upheaval. Their adoption of radical cinematic technique reforms modes of representation involving the long take, which allows them to profoundly express their new experiences of reality. I argue this principally occurs in both overt and implicit stagings of meaning in the mise-en-scène that rely on the long take’s expanded duration. Second, I examine the formal heritage of the long take.