NARRATION IN SLOW CINEMA
I augu aldisse taio zur Erlangung des Akademischen Grades eines Dr. phil., vo gelegt de Fa h e ei h 5 – Philosophie u d Philologie de Joha es Gute e g-U ive sität Mainz vo
ELĪNA REITERE aus Riga
Mainz Mai 5 Referent/in:
Ko efe e t/i :
Tag des P üfu gskollo uiu s: Erkläru ge ge äß § der Pro oio sord u g
Hier it erkläre i h, ELĪNA REITERE, dass i h i Fa h FILMWISSENSCHAFT kei e Prüfu g a ei er U i ersität oder ei er glei hgestellte Ho hs hule i Deuts hla d e dgülig i ht esta de ha e u d i h i ht a ei er U i ersität oder a ei er glei hgestellte Ho hs hule i Deuts hla d i ei e Prüfu gs erfahre ei de.
Hier it erkläre i h, dass die Dissertaio sel stä dig, oh e fre de Hilfe u d it kei e a dere als de dari a gege e e Hilfs itel a geferigt urde, dass die örtli he oder de I halt a h aus fre de Ar eite e t o e e Stelle , Zei h u ge , Skizze , ildli he Darstellu ge u d derglei he als sol he ge au ke tli h ge a ht si d.
Hier it erkläre i h, dass die Ar eit o h i ht i glei her oder a derer For a irge dei er Stelle als Prüfu gsleistu g orgelegt orde ist.
Mai z, de . Mai
/Eli a Reitere/ Zusammenfassung i Zusammenfassung
Das iis he Fil agazi Sight& Sound hat die Be egu g des slow cinema als die i higste E t i klu g i e ste Jah zeh t des . Jah hu de ts ausge a ht. U ea htet de Diskussio , o die La gsa keit i Fil tatsä hli h u ei Phä o e des d ite Jah tause ds ist, stellt si h diese Disse taio die Aufga e, a ai e St uktu e sol he Fil e u d de e Efekte, die sie auf die )us haue ha e kö te , zu u te su he . I diese Hi si ht i d die He a gehe s eise a de Fil hie aus ei fu kio alisis he Gesi htspu kte et a htet. Das heißt, es geht hie i ht u ei e he e euis he I te p etaio , ei de se iois he, ps hoa al is he, kultu soziologis he u.a. Modelle e e det e de , so de u die U te su hu g de a ai e St uktu e u d de e Fu kio s eise. O ohl das slow cinema eist als ei a i a ai es Phä o e gesehe i d, e su ht diese A eit zu e eise , dass au h diese Fil e auf de sel e a ai e St uktu e asie e ie das ko e io elle Ki o.
De Ausga gspu kt diese A eit ildet die A al se de Aktst uktu e o se hs ausge ählte Fil eispiele . U diese Aufga e zu e älige , e de A sätze aus de kog ii e P ag aik – die Rele a ztheo ie o Da Spe e u d Dei d e Wilso – u d aus de post- klassis he E zähltheo ie Da id Bo d ell, K isi Tho pso , Ma ie–Lau e R a , Da id He a he a gezoge . Da die Rele a ztheo ie die Bedeutu g de i fe e ielle Ko u ikaio eto t, auf de au h die Fil ko u ikaio e uht, ist diese A satz fü ei e A al se eso de s gut geeig et. I fe e ielle Ko u ikaio esagt, dass die Bedeutu gszu eisu g ei e Äuße u g i ht als Dekodie u g ei es o Se de festgelegte Codes a läut, so de du h de E pfä ge , o Ko te t ausgehe d, du h Deutu g u d I te p etaio ollzoge i d.
Die Hauptaussage de Rele a ztheo ie ist, dass jede Äuße u g i Rezipie te E a tu ge e kt u d dass die Su he a h de opi ale Rele a z de Aussage zu de Hauptaufga e de e s hli he Kog iio gehö t. Die alle i higste U te s heidu g, die die Rele a ztheo ie o gi t, u d die fü diese A eit o aßge e de Bedeutu g ist, ist die Dife e z z is he sta ke u d s h a he I plikatu e , da diese ei e geteilte Ve a t o tu g fü die ögli he I te p etaio ei e Aussage z is he de Auto e u d de Rezipie te ei haltet. I Fall o sta ke Ko u ikaio e de die Efekte, die ei e Aussage ei Lese he o ufe sollte, o Auto e o kalkulie t. I Fall de s h a he Ko u ikaio si d fü diese hauptsä hli h Lese )us haue e a t o tli h. Die Disse taio e su ht zu e eise , dass de la gsa e Fil ei e A t de s h a he Ko u ikaio da stellt. Fe e ka it sol he Ko zepte de E zähltheo ie ie E zähl a keit als ei ualitai es Me k al fü ei a ai es E eig is u d die Na ai ität als ei ualitai es Me k al fü die O ga isaio des Plots de a ai e Aubau i la gsa e Fil este s a al sie t e de . Diese Disse taio eist a h, dass die slow narraion-Fil e a ha d so ohl de E zähl a keit als au h de Na ai ität klassiizie t e de kö e u d dass eide Beg ife i u te s hiedli he Stä ke aut ete kö e . Zusammenfassung ii Die Disse taio zeigt dies a ha d o se hs ausgesu hte Beispiele , die z is he u d p oduzie t u de u d aus u te s hiedli he Fil kultu e u d Kultu k eise sta e Tai a , A ge i ie , Deuts hla d, U ga , Thaila d, Po tugal . Da kausale Ve k üpfu ge i la gsa e Fil e seh lose lei e , stellt diese Disse taio die These auf, dass ei e I te p etaio , die all die Ele e te des Fil s i ei e kohä e te he e euis he Auslegu g zusa e fasst, u ein ögli he Weg fü de )us haue ist, u zu ei e a ge esse e Rezepio sst ategie des Fil s zu gela ge . A de e St ategie , die hie o ges hlage e de u fasse afeki e, e oio ale u d si li he E fah u ge , die ei Fil e le is itei s hließt. Diese ilde jedo h ei ethodologis hes P o le fü ei e Wisse s hatle , de si h auf ei e St uktu a al se es h ä ke ill, eil au h i e hal de )ielg uppe des slow cinema, el he aus A hä ge des Auto e il s esteht, hö hst i di iduelle Reakio e auf diese Fil e zu eo a hte si d, die si h de u i e sell gelte de isse s hatli he Bes h ei u g e tziehe kö e . Abstract iii Abstract
Slo i e a has ee ide iied the B iish il agazi e Sight& Sound as the ost i po ta t t e d that e e ged du i g the i st de ade of thest e tu . Without po de i g hethe the te de to slo ess i the i e a is just a phe o e o of the thi d ille iu , the li hpi of thesis is the a ai e st u tu es of su h il s a d the efe ts the a ield o the ie e ’s e pe ie e of a pa i ula i e ai a t o k. Thus a ou t of u de sta di g a ai e is a pu el fu io alist o e. It e tails that i the p ese t stud o he e eui app oa h is to e fou d that ould fu the ge e ate se ioi , ps hoa al i al, ultu e so iologi al i te p etaio s, i te alia. A othe di e io is take , hi h sta ts leshi g out the a aio al st u tu es a d thei fu io s. Despite the fa t that slo i e a is usuall ega ded as a a i- a ai e, this thesis de o st ates that also il s asso iated ith this st lisi t e d displa the sa e a ai e st u tu es as the ai st ea i e a.
The poi t of depa tu e is the a al sis of the a t st u tu e of the hose ase e a ples. Fo a i g out this task the a ou ts f o og ii e p ag ai s – the Rele a e theo as de eloped Da Spe e a d Dei d e Wilso – a d o epts f o post- lassi al a atolog Da id Bo d ell, K isi Tho pso , Ma ie-Lau e R a , Da id He a e e o sulted. As the Rele a e theo u de li es the i fe e ial atu e of o u i aio , it is est suited fo a al zi g il o u i aio that is also ega ded as a i fe e ial ela o aio . It i plies that the ea i g of the ute a e, i stead of ei g e oded the se de a d o se ue tl de oded the e ei e , is i fe ed e og izi g the i te io s of the o u i ato taki g i to a ou t the o te tual fa to s.
The asi assu pio of the Rele a e theo is that e e ute a e aises e pe taio s i the audie e a d thus the sea h fo ele a e elo gs to the asi tasks of hu a og iio . The ost i po ta t di isio fo this e dea ou is the dife e iaio et ee st o g a d eak i pli atu es, ide if i g a sha ed espo si ilit fo the i te p etaio of the ute a e et ee the autho a d the eade . Whe eas the efe ts of st o g o u i aio a e fo esee the speake , the eade hi self is ostl espo si le fo the efe ts ge e ated eak i pli atu es. The lai de eloped i this thesis is that the slo i e a is do i ated eak o u i aio . I te s of a ai e theo the o u i aio desig of slo i e a a e est a al zed alo g the li es of su h o epts as tella ilit as a ualitai e featu e fo a a ai e e e t pe se, a d a ai it as a ualitai e p ope t of plot o ga izaio . The assu pio follo ed th oughout the thesis is that oth of these o epts a e of a i g deg ees. The efo e, this thesis takes the fo of a se ies of ase studies d a f o all o e the o ld, o i g f o dife e t i e a t adiio s a d ultu e a eas. The si ase studies i lude il s f o Tai a , A ge i a, Ge a , Hu ga , Thaila d a d Po tugal a d e e p odu ed et ee a d . Abstract i As the ause-a d-efe t hai e ai s e loose i slo i e a, a pa i ula o te io e p essed i thesis is that the e t a io of ohe e e a o g the dife e t ele e ts of the il i the fo of a i te p etaio is just o e of the soluio s fo ie e s i ho to assess ele a e i these halle gi g il s. Othe st ategies suggested i lude afe i e, e oio al a d se so ial e pe ie es that, ho e e , pose a ethodologi al p o le fo a s hola , e ause e e ithi a g oup of i e a-edu ated ie e s ho fo the ai ta get audie e of slo i e a, these ea io s a e highl i di idual a d thus elude a u i e sall - alid s ie ii des ipio . Table of contents v Table of Contents
Zusammenfassung i-ii Abstract iii-iv Table of Contents v-viii Acknowledgements ix
I. I trodu io
1. Approaching the subject 1 . . “lo i e a – dei i g the o e of o te io 1 . . Ge esis of slo i e a 4 1.3. E e thi g slo : f o slo ess as lifest le to slo ii is 6
2. Methodological toolkit 13 2.1. Hypothesis 13 . . Poi t of depa tu e 17 . . Deg ees of a ai it a d dei iio of a ai e 18 . . E e t, e e t ess a d e e ful ess 20 . . U ited a ai e s. o je i e ealis 22 2.6. The protagonist and his goals 23 2.7. Four-act-schema 24 . . Tu i g poi ts a d slo il s 25 . . Role of the ie e 27 2.10. Film as an experience 28 . . Natu al audie e of slo i e a 29 . . Rele a e theo a d i e a p ag ai s 30 . . B eakdo i o u i aio 34 . . E oio al espo se 37 . . Choi e of il e a ples 37 . . A p a i al side ote 39 Table of contents vi
II. Case Studies
1 . Goodbye, Dragon Inn – with or without contextual knowledge? 41 . . Ci e a a d des ipio – a p o le ai issue 41 1.2. Comprehension process according to the Relevance Theory 43 . . “e de of the essage 44 1.4. Explicatures in Goodbye, Dragon Inn 45 . . Des ipio of the il ’s st u tu e 47 . . I pli ated o lusio s fo Goodbye, Dragon Inn 52 a) Refe e es of Tai a ese il ultu e 53 ) Refe e es to Tsai Mi g-Lia g’s sig atu e 55 . . Deg ee of a ai it i the il 57 a) Tella ilit , e epio alit a d stagi g 58 ) E e ful ess, du aio a d e oio 60 ) A esi g i age, edei ed 62 d) A tops -tu of ke els a d satellites 63 . . Cha a te s i the il 64 1.9. Act schemata in Goodbye, Dragon Inn. 66
2 . Liverpool – p ese e as a efe t of i i alis 69 2.1. Minimalism and slow cinema 70 . . Des ipio of the il ’s st u tu e 70 . . Tella ilit of the sto 76 . . Le els of a ai e 76 . . Autho ial i te io s a d disappoi ted e pe taio s 79 2.6. Weak implicatures: dominant and in abundance 81 . . E pla aio of the a t s he a 85 . . Dei iio of post-a io lag 87 . . Ne i te sit of at hi g? 88 2.10. What do pictures want? 89 . . P odu io of p ese e as a o e agai st i te p etaio 90 . . Ve igo of the detail 91 2.13. “Pleasure, pleasure, what else should bring one anywhere?” 93 Table of contents vii
3 . The Turin Horse – a st o g ase of pa a et i a aio 94 . . Pa a ete i i e a dei iio 95 . . The i o po aio of st le i Rele a e theo 96 . . Des ipio of the il ’s st u tu e 97 . . Repeated e sus u i ue e e ts of the u da e 104 . . Eai g potatoes – a e e da itual 105 3.6. Act scheme in The Turin Horse 106 . . Li ited u e of st lisi hoi es 108 3.8. Style takes an overhand 110 3.9. The thinking image 110 . . “e ializaio of a ai e 110 . . The u e epio al a d the f e ue of a aio 111 3.12. Repeated viewings and Relevance theory 112
4 . Fallen – a eak ase of pa a et i it 114 . . Des ipio of the il ’s st u tu e 114 4.2. Act schema in Fallen 119 4.3. Fallen as a ge e il 120 4.4. Tellability, events and change 121 . . T pes of pa a et i ode 123 . . Lo g take i i e a studies 124 . . Fu io of du aio i a ai e 125
5. Blissfully Yours – oods, hapi e pe ie e a d edei iio of 128 immersion . . Des ipio of the il ’s st u tu e 129 . . Buildi g a fou -a t s he a ithout a p ope ause-a d-efe t hai 133 . . Deg ee of a ai it a d tella ilit 135 . . At osphe e as the leadi g a ai e p i iple 137 5.5. The mood-cue approach 137 . . T pes of i e sio 142 a) “paial i e sio 144 ) E oio al i e sio 147 c) Temporal immersion 149 Table of contents viii
6. Colossal Youth – hat o situtes a olossal o e ? 154 . . Des ipio of the il ’s st u tu e 155 . . Deg ee of tella ilit 161 . . Ch o ologi al o de i g as a o diio fo a ai it 162 6.4. Suspense or interest? 165 . . The i po ta e of o te tual assu pio s 166 . . No -e iste e of the a t s he e 168 . . A Rele a e theo pe spe i e 168 6.8. The Dominant as the guiding principle 171 . . I po ta e of the i situio al f a e o k 172
III. Staisi al Style A alysis a d proof 174for para etri ity 1. Goodbye, Dragon Inn 176 2. Liverpool 183 3. The Turin Horse 185 4. Fallen 188 5. Blissfully Yours 191 6. Colossal Youth 194 7. Where does slow cinema begin? 196 . “u a of staisi al a al sis 198
IV. Conclusion 200
Bi liography 211
Fil ography 229 ix Acknowledgements
In order to carry out and conclude an extensive and labour-intensive project (and intellectual halle ge as this dissertaio , support fro a sides has ee eeded.
First of all, hearfelt graitude goes out to super isor, Prof. Oksa a Bulgako a for the o sta t support a d u h- eeded e ourage e t all throughout this le gth proje t. I a also tha kful to Prof. Mi hail Ba h a , the o-super isor of this proje t, for his detailed readi g a d i sighful re arks.
For the i epio of the idea, tha ks goes out to Prof. Tho as Koe er, ho, at the e d of Master’s progra e, proposed slo arraio as a su je t ater that deser ed loser i spe io i the for of a dissertaio . I a also grateful to Dr. philol. Viktors Frei ergs fro the U i ersit of Lat ia for his i sighful o e ts duri g the irst stages of the idea, out of hi h this proje t has de eloped.
Further I ould like to e te d appre iaio to the I ter aio al Postgraduate Progra e Performance and Media Studies at Joha es Gute erg U i ersit Mai z, i ludi g oth its pari ipa ts as ell as the professors ho pro ided a fruiful e iro e t for dis ussi g a d de elopi g thesis o er the period of do torate. Ma tha ks as ell to the Ger a A ade i E ha ge Ser i e DAAD , for their i a ial support hi h ade this proje t possi le.
I ha e e eited a lot fro o ersaio s ith lose frie ds Dr. Gusta s Stre ga, Tho as Gra o sk a d Oli er Ma er. I a also tha kful to the staf of the ideo li rar at the U i ersit of Mai z, Ar i Jäger a d Re é Rupert, for their e perise i i e a studies. I’d also like to tha k Sar a Gaide for her thorough a d sophisi ated proofreadi g of E glish.
M graitude to those ho helped stru ture da i order to sustai the ork: Dr. A a Hu dert ark for our dail jour e s fro Wies ade to Mai z, a d to the ga g of um Eins am Baum, i ludi g Dr. Mi hael Mar , Dr. U e S hirko a a d Bia a )äpf, ho ofered a u h eeded dail reak fro the hard e dea our of s ie ii resear h.
A d i all , to hus a d, Dr. Björ Melzer, ho I tha k fro the oto of heart ot o l for his o i ual support, lo e a d o ide e i apa iliies, ut also for taki g are of e er pra i al aspe t of our dail fa il life, to ake this proje t’s o pleio possi le at all. I dedi ate this thesis to hi . I. Introdu ion - 1. Approa hing the su je t 1 I. I trodu io
1. Approaching the subject
“A philosophical inquiry entails at least two elements: the ide ii aio of the p o le a d the hoi e of o epts that a e ade uate fo app oa hi g it. Gilles Deleuze Quoted in Giorgio Agamben’s The Signature of All Things: On Method, New York, 2009, p. 76
1.1 Slo i e a - dei i g the o e of o te io I o de to ide if the p o le , hi h ill e the fo al poi t of the stud , let’s efe to the B iish il agazi e Sight & Sound. I a Sight & Sound dis ussio a out the ost disi i e featu es i i e a ithi the i st de ade of the st e tu , slo i e a as a ed as the ost p o i e t phe o e o . Fil ii Jo atha Ro e e io s auste e i i alis as o e of its ha a te isi s, a d fu the dei es it as follo s:
a e tai a eied i te sit i the a isi gaze, hethe the i ages a e highl polished Ca los Re gados Silent Light, o f ugall ough-edged the il s of Lisa d o Alo so ... The i e a that do pla s the e e t i fa ou of the ood, e o ai e ess a d a i te siied se se of te po alit . “u h il s highlight the ie i g p o ess itself as a eal-i e e pe ie e i hi h, ideall , ou e o e a utel a a e of e e i ute, e e se o d spe t at hi g.
Ro e a es su h il ake s as Bela Ta , Tsai Mi g-Lia g, Api hatpo g Wee asethakul, B u o Du o t, F ed Kele e , Ped o Costa a d Al e t “e a as ep ese tai e of slo i e a. Othe il ake s e io ed i o e io ith slo i e a a e Gus a “a t, Paz E i a, A as Kia osta i a d “ha u as Ba tas. Fil ii s a d logge s talk a out the phe o e o of slo i e a as o e of the ost i p essi e o e e ts i the i e a of the i st de ade of the st century3, at least si e . A o di g to Mathe Fla aga , the te i e a of slo ess as oi ed Mi hel Ci e t i .4 The te as su se ue tl e io ed o a d the , ut fou d ide a epta e th ough a pai of a i les o slo i e a pu lished i Sight and Sound i . The dei iio Sight & Sound a o e e io s the ai a ai e st ateg of su h il s -
1 Jonathan Romney In Search of Lost Time in Sight & Sound, February 2010, p.43. 2 Matthew Flanagan Towards an Aesthetic of Slow in Contemporary Cinema in 16:9, 29, 2008, available at http:// www.16-9.dk/2008-11/side11_inenglish.htm (Accessed May 2010). 3 Jonathan Romney In Search of Lost Time in Sight & Sound, February 2010, p.43. 4 Matthew Flanagan Towards an Aesthetic of Slow in Contemporary Cinema in 16:9, 29, 2008, available at http:// www.16-9.dk/2008-11/side11_inenglish.htm (Accessed May 2010). I. Introdu ion - 1. Approa hing the su je t 2 the do pla i g of a e e t a d the highlighi g of the il as a a tefa t th ough e phasis o the isual ualiies of a i age. Ro e also oted the ight o d et ee the ie i g p o ess of slo i e a a d the eal-i e e pe ie e of the audie e. The Sight & Sound state e t lau hed a huge dis ussio i the o li e loggi g o u it , ai l o e i g hi h il ake s should e i luded o the slo i e a list5 and how to assess the feishizaio of the lo g take, hi h is o ious i su h il s. But the dis ussio also highlights se e al othe issues. The ost i te esi g e e ought up the A e i a ultu al ii “te e “ha i o i his espo se to the a i le.6 “ha i o opi es that i o pa iso to Mi hela gelo A to io i, Cha tal A ke a o othe il ake s of the s a d s, ho a e ega ded as the p ede esso s of slo i e a, a ki d of p o o ai e ess is issi g i o te po a e a ples. The e is o lo ge a se se of pushi g ou da ies. His se o d theo is that o te plai e i e a as he alls it , ith lo g-take, lo g-shot, slo - a e a- o e e t a d spa se-dialogue, has e o e a li hé, as a ki d of i te aio al default st le fo il fesi als. He a uses it of ei g ostalgi a d eg essi e, a d his a gu e t is o th uoi g he e at le gth:
It´s a a of si ulai g olde i e ai st les, a d gi i g the a e appea a e of life o o e p e isel , a e zo iied life-i -death , as a a of late i g lassi ist i ephiles, a d of si pl ig o i g e e thi g that has happe ed, so iall , polii all , a d te h ologi all , i the last ea s. […] it is a p ofou d failu e of i agi aio to o i ue to ake il s i the old a , o that o i ue to sig if i the old a , he this `old a ` has itself e o e othi g o e tha a ostalgi li hé. […] ou si pl et eat i to fa tasies of the good old da s. To i d, this is hat “lo Ci e a is doi g.
Ate this af o t o slo i e a “te e “ha i o lists his fa ou ite o te plai e il s. His posiio a e su su ed u de the p e ise that the ost o igi al e a ples a e those that depa t f o the o of slo i e a. This dis ussio lea l sho s that the te slow o o te plai e o the o e ha d does ot
5 More blogposts about this issue: Steven Shaviro Slow Cinema vs. Fast Films in Steven Shaviro The Pinocchio Theory, 12.05.2010, http://www.shaviro.com/Blog/?p=891, (accessed 23.03.2011); a contribution to the discussion by The Guardian ilm critic Danny Leigh The View: Is It OK to Be a Film Philistine?, 21.05.2010, The Guardian, available at http://www.guardian.co.uk/ilm/ilmblog/2010/may/21/ilm-philistine, (accessed 23.03.2011); a blogpost by Glenn Kenny About Nothing, Or New Fast, 13.05.2010 available at http:// somecamerunning.typepad.com/some_came_running/2010/05/new-fast.html , (accessed 23.03.2011); a blogpost by Harry Tuttle Slow Films, Easy Life, 12.05.2010, available at http://unspokencinema.blogspot.com/2010/05/ slow-ilms-easy-life-sight.html (accessed 23.03.2011); a blogpost by Vadim Rizov Slow Cinema Backlash, 12.05.2010, available at http://www.ifc.com/blogs/indie-eye/2010/05/slow-cinema-backlash.php , (accessed 23.03.2011). 6 There were also arguments about the sensibility of a ilm critic in understanding the greatness of slow ilms, peaking in almost offensive allegations, concerning the use of the term philistine. As this issue says nothing about the ilms in question, no further attention will be paid to it. 7 Steven Shaviro Slow Cinema vs. Fast Films in Steven Shaviro The Pinocchio Theory, 12.05.201, available at http://www.shaviro.com/Blog/?p=891. (Accessed 23.03.2011). 8 Ibid. I. Introdu ion - 1. Approa hing the su je t 3 e haust the p o le ; it is fa o e o ple a d eeds to e app oa hed i a ei ed a e . Issues su h as the uesio of i age polii s, the st u tu e of the il i dust il fesi als a d thei ste eot pi al a agi g pate s , uesio s of taste a d ii al o s ious ess all see to pla a ole he e. O the othe ha d, the dis ussio i the logosphe e e hoed a othe o e ge e al p o le . The iggest de ates i the o e ts se io s e t ed o the il ake s a d il s o the list, ith poste s see i gl ofe ded that thei elo ed slo i e a il ake is ot e io ed. Readi g the ite ia fo slo i e a fo the i st i e ith o l a fe il ake s i i d – the auste e i i alis , ood, i te siied se se of te po alit a d e te si e use of the lo g take - see s to e e ough to dei e a e di e io . But the i lusio of o e a d o e il ake s o the slo i e a list o s u es o e tha it illu i ates. No o de the , that the e is so e dou t if su h a st le o u e t as slo i e a o o te plai e i e a e ists at all. The e a e ple t of opi io s stai g that the di e to s a ed i o e io ith slo i e a a e too di e se i thei a isi app oa hes to e a ed i the sa e se te e. As slo i e a has ga e ed su h e thusias , it a ot e said that the phe o e o is o - e iste t. O the o t a , these dis ussio s dis lose a othe featu e of slo i e a – as a at h o ept. The p oof is the ease ith hi h the o ept has at a ted the ate io of il ii s as ell as il ai io ados. This sho i g of the po e of the o d is e i is e t of a old Lat ia tale: a lo g i e ago lakes le high a o e the Ea th. If o e as spoted a d its a e ute ed out loud, that pa i ula lake ould d it do a d setled o that spot of the Ea th fo e e . All phe o e a i il histo – dife e t Ne Wa es o st les – a e also ought out of o li io he a ed il ii s. If si ila pate s a e fou d – eithe st lisi o a ai e, appea i g i a se ies of il s du i g a e tai pe iod of i e – the a e di e io is de la ed. But as it is o e of the ai a i iies of ii al e dea ou , as Noél Ca oll has elo ue tl a gued i his ook O Criicis 9, the e is o poi t i hosilit to a ds the de la aio of this pa i ula o e e t. E e o e, as Jo atha C a has poi ted out, histo i al pe iodizaio s as su h a e al a s histo iog aphi al o st u io s. What is at stake he e is ot so u h thei eligi ilit as thei f uiful ess fo ou u de sta di g of histo i al de elop e ts. A d so, the i st f uit of stai g su h a st lisi de elop e t as slo i e a e ists is that it helps to g asp the la ds ape of o te po a i e a. Na el , the dis ussio i Sight & Sound e plai s the ise of slo i e a ith the de li e of o e ial Holl ood i e a, hi h du i g the last de ade has deli e ed p edi ta le sto ies a d ste eot pi al ha a te s. It is u de halle gi g a d o i g fo il ii s, a d i o t ast the ui k sto ies of slo i e a at h thei ate io . A poi t o e i g the use of ideas e p essed o li e a d ot i p i ted fo has to e ade.
9 Noél Carroll On Criticism, London, 2009, p. 45. 10 Quoted in Frank Kessler The Cinema of Attractions as Dispositif in Wanda Strauven (ed.) The Cinema of Attractions Reloaded, Amsterdam, 2007, p. 58. 11 Jonathan Romney In Search of Lost Time in Sight & Sound, February 2010, p. 44 I. Introdu ion - 1. Approa hing the su je t 4 “o e a ade i ii s ith thei high o aitudes ight o de the use of the opi io s of o -a ade i pe so s as the pi ot fo fu the ela o aio o the su je t of slo i e a. But eliis is ot i pla e he e. No ada s, he a lot of i po ta t a ade i ii s ha e logs a d i ite eade s to o e t, the gap et ee the sides see s to ha e di i ished. E e o e so e ause a o e tato s a e ell e sed i i e a a d ofe ell-fou ded easo s fo thei posiio s. The efo e, dis ussio s a out slo i e a o the I te et ha e to e take i to o side aio . I a ase, hat is at stake is ot as Paul Fe e a e d states: The ost i po ta t s ie ii thi ki g egi s ot ith ideas, ut ith o ds that e o e appeali g . Be ause i te s of hi h as i st, it is o ious that the oio of slo i e a sho ed itself i st i il s. A d, as as al ead o ious i the disag ee e ts o hi h st e tu il ake s should e la elled as ep ese tai e of slo i e a, the list itself is a p o le . It gets e e o e o pli ated he looki g fo the p ede esso s of slo i e a. Auste e i i alis , ood a d i te siied se se of te po alit a also e at i uted to othe p o i e t il ake s a d pe iods i i e a histo su h as Italia Neo ealis a d Eu opea Mode is . As su h, a agazi e a i le e ui i g at h p oposals a d o ise opi io s is pe haps ot a app op iate fo u fo deli e i g a highl ei ed a al sis of the phe o e o . Ho e e , a al si g the possi le displa s of slo ess th oughout the histo of il is also ot the ai of this p oje t. Fo this e dea ou the dei iio of slo i e a, as fo ulated Sight and Sound, is take fo g a ted, a d the fo us is o the a ai e st u tu es of these il s a d the fu io al di e sio s. To egi : a o ise o e ie of the histo of slo i e a as esea hed B iish s hola Mathe Fla aga . Follo i g that the phe o e o of slo i e a ill e pla ed ithi a la ge o te t i te s of the o te po a u ge to a ds de ele aio i e e aspe t of life.
. . Ge esis of Slo Ci e a
A o e ie of the ge esis of slo i e a, this hapte ’s fo us, as laid out Mathe Fla aga i his do to al thesis Slo Ci e a : Te poralit a d St le i Co te porar Art a d E peri e tal Fil .
His opi io is that:
The la el `slo i e a` efe s to a odel of a t o e pe i e tal il that possesses a set of disi t ha a te isi s: a e phasis upo e te ded du aio i oth fo al a d the ai aspe ts , a audio- isual depi io of sill ess a d e e da ess; the e plo e t of the lo g take as a st u tu al de i e; a slo o u d a ai fo of a aio if a ai e is p ese t at all ; a d a p edo i a tl ealist o h pe ealist ode o i te t.
12 Quoted in Robert B. Ray How a Film Theory Got Lost and Other Mysteries in Cultural Studies, Bloomington, 2001, p. 50. 13 Matthew Flanagan ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, 2012, University of Exeter, p. 4, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). I. Introdu ion - 1. Approa hing the su je t 5 The ha a te isi s he ofe s e ho the opi io of Jo atha Ro e f o Sight& Sound, as uoted p e iousl . Ho e e , if Ro e u de sta ds the slo i e a u e t as ha i g e e ged du i g the i st de ade of the st e tu , the Fla aga ega ds this phe o e o as e ide tl oade . Fo Fla aga slo i e a is a st le that a e t a ed a oss se e al de ades a d dife e t i e ai u e ts. He e, he states that e e though a u de sta di g of slo ess i i e a as dei ed i his a o e uotaio e e ged ate the “e o d Wo ld Wa this st le a ui ed p o i e e du i g the last th ee de ades. As p ede esso s of ode slo i e a he a es Italia Neo ealis a d othe phe o e a of Eu opea i e a of the s a d s, a d poi ts to the high ode ist, st u tu al a d ate ialist i e a of the s a d s as a othe sou e of i lue e. As Fla aga a k o ledges, the te de to a ds slo ess i i e a deepe ed du i g the s, a d as p oof he lists su h i lue ial il s as Sátántangó di , Béla Ta , , Vi e l´a our di . Tsai Mi g-Lia g, a d Frost di , F ed Kele e , .
If the e oluio of slo i e a out of Italia Neo ealis a d othe Eu opea i e ai o e e ts see s to e e ide t, o e of Fla aga ´s a hie e e ts as to ake the o e io to No th A e i a e pe i e tal i e a. Fla aga otes the p i a of the i age a d the o te plai e ode of spe tato ship as the de isi e fa to s hi h se e as o ds et ee o te po a slo i e a a d its fo e u e s f o No th A e i a. But Fla aga also sees the de a aio li e et ee a t i e a a d e pe i e tal i e a, oth hi h ha e ou ished o te po a slo i e a, as the dife e e i aitude to a ds the a ai e. Whe eas a t i e a, hi h posiio s itself as ou te pa t to lassi al o s, sill has a ohe e t ode despite loose ed ausalit , i e pe i e tal i e a a ai it ep ese ts just o e opio a o gst othe s. Fla aga o i ues stai g that E pe i e tal i e a thus te ds to alight upo si gula e e ts i isolaio , se ies o supe i posiio athe tha a ai es, a d its e pli it fu io is to i te ogate oth the il i appa atus a d the spe tato ’s pe epio of those e e ts. Thus, post- a a t i e a e e eli i ates a ai it o pletel . But e e o e i po ta tl fo the o te po a st le of slo i e a is the i t odu io of du aio as the o po e t of the o i g i age fa o e agg essi el , a d i o side a l g eate su plus No th
14 Matthew Flanagan ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, 2012, University of Exeter, p. 4, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 15 Ibid., p. 8. 16 Ibid., p. 40. 17 David Bordwell Narration in Fiction Film, 1985, p. 228. 18 Matthew Flanagan ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, 2012, University of Exeter, p. 42, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 19 Ibid., p. 42. 20 Ibid., p. 43. I. Introdu ion - 1. Approa hing the su je t 6 A e i a e pe i e tal i e a tha a t i e a of the sa e pe iod - st u tu al il s ei g the ost gla i g e a ples. Fla aga u de li es the i ed f a e as a disi t ha a te isi of this il u e t that has ee p odu i e fo o te po a slo i e a, e a li g the o se aio of the s e e a d the e te ded du aio . The efe t eated th ough the li ki g of these t o ele e ts is that the isual i age e o es a di e t a d u ediated ep ese taio of ealit . Fla aga ega ds the st u tu al il s of A d Wa hol, as the ep ese t a h pe oli app oa h to this o se aio al st ateg , of e t al i lue e to slo i e a.
That the e is a di e t, t a ea le li k et ee st u tu al il a d slo i e a, as the o ept is he e ith e plo ed, is al ead e e pliied i Fla aga ’s thesis. “o, fo e a ple, i the hapte a out the i lue e of Wa hol´s il E pire o the follo i g ge e aio s of il ake s he uotes Api hatpo g Wee asathakul, ho is a o g the p i e e a ples fo this p ese t stud . I uoi g Api hatpo g Fla aga lai s that the featu e of Wa hol´s o k that has ost i lue ed o te po a slo i e a is his sustai ed, o te plai e ate io to the egist aio of light a d i o detail o er i e . This o se aio al p a i e ields a o te plai e spe tato ial p a i e.
Ho e e , as ill e outli ed i the hapte s to o e, the e is o e tha o e possi ilit of ho to o e to te s ith slo i e a. Though all of these odes i pl the spe tato ´s eadi ess fo this o te plai e p a i e , it a o l e ega ded as a u ella te fo o e a ied app oa hes to these highl halle gi g il s.
B appeali g to o te plaio a d the o s ious e pe ie e of the p ese t o e t, the slo i e a u e t its i to the o e all te de to p aise de ele aio i all sphe es of life, ot o l i the a ts. This t e d to a ds slo ess a e o se ed at least si e the e d of the s, a d the e t su hapte ill outli e the o o featu es all these u e ous o e e ts sha e.
. . E erythi g slo : fro slo ess as a lifestyle to slo rii is
I easi gl di e se slo ess o e e ts, as a ea io to a ele aio do i ai g a aspe ts of dail life, a e o se ed du i g the last t o de ades. It is so ei es ha d to fatho hat all these slo - o e e ts ha e i o o . This hapte ill pu sue the issue of slo ess th oughout dife e t dis ipli es a d dife e t
21 Matthew Flanagan ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, 2012, University of Exeter, p. 44, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 22 Ibid., p. 45. 23 Ibid., p. 48-49. 24 Ibid., p. 51. 25 Ibid., p. 50-51. I. Introdu ion - 1. Approa hing the su je t 7 aspe ts of ou li es. I doi g so, I’ll e dea ou to a oid histo i al falla – the assu pio that t o e e ts o u i g at the sa e i e a e e essa il elated to ea h othe . Fi st of all, Sight and Sound edito Ni k Ja es o fesses f a kl that the o ept of slo i e a is o o ed f o the “lo Food o e e t. The i te aio al “lo Food o e e t as fou ded i i Pa is, although the i st slo food o ga izaio s e e esta lished i Ital du i g the s. The ai p i iples of this o e e t a e slo ess, leisu e, a d health , pleasu a le a d egio al food. The “lo Food o e e t i Ital sta ted as a ea io to the ope i g of McDo ald s estau a ts i Ital i the id- s. Ate a ds Ca lo Pet i i, the fou de a d p eside t of the “lo Food o e e t, i sisted that the e e sought to atle McDo alds a d fast-food, a slo - o e e t a ot e dis ussed ithout e io i g its ou te pa t – all thi gs fast. The Ge a e o o ist F itz Reheis, i his ook Die Kreai ität der La gsa keit, i te p ets fa ts f o dife e t do ai s as e ide e fo his thesis that ou i ilizaio is o the e ge of a eltdo aused a ele aio . He dete ts this p o ess, hi h ega ith the I dust ial Re oluio , o th ee le els: atu e, ultu e aka so iet a d i di idual pe so a. I o de fo so iet to es ape the eltdo Reheis de la es the o ept of the e olog of i e, ea i g that ea h s ste – eithe atu e, ultu e o ea h i di idual – has to i d the i e f a e eeded fo dife e t p o esses i o de to p ospe . At a ate, it ea s slo i g do the pa e. I the ase of e o o i s it ould ea that i stead of ge e ai g o e a d o e o e , it ould ep odu e life – ithi atu e a d of a i di idual. “u p isi gl , the Ge a a e fo this de ele aio – E ts hleu igu g – as used fo the i st i e o l i ps hologist Jü ge o “ heidt i his ook Si gles. Allei sei als Cha ce des Lebens. p. . That e a e all i e si k as i st p o ou ed A e i a ph si ia La Dosse i . Ti e is gei g a a , that the e is ’t e ough of it a d that ou ust pedal faste a d faste to keep up. 33 As Ca l Ho o é puts it, speed is ot al a s the est poli .34 As a ele aio afe ts us di e tl th ough e- aili g a d othe i fo aio al o e load, the e is ot o l a all fo slo e o u i aio s, ut also guide ooks o ho to slo the pa e i ou
26 Donald Crafton Foreword in Angela Dalle Vacche (ed.) The Visual Turn. Classical Film Theory and Art History. New Brunswick, 2003, p. IX. 27 Nick James Passive Aggressive. In: Sight& Sound, April 2010, p. 5. 28 Carlo Petrini Slow Food. Geniessen mit Verstand, Zurich, 2001, p. 29. 29 Fritz Reheis Die Kreativität der Langsamkeit. Neuer Wohlstand durch Entschleunigung, Darmstadt, 1998. 30 Fritz Reheis Die Kreativität der Langsamkeit. Neuer Wohlstand durch Entschleunigung, Darmstadt, 1998, p. 140. 31 Fritz Reheis Befreiung vom Turboprinzip. Die Diktatur des Geldes und die Perspektive einer Ökologie der Zeit in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei, Ostildern, 2011, p. 17. 32 Markus Brüderlin Avantgarde der Entschleunigung. Bewegung und Ruhe in der Kunst der Moderne von Goethe über Caspar David Friedrich bis Ai Weiwei in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei. Ostildern, 2011, p. 61. 33 Carl Honoré In Praise of Slowness: Challenging the Cult of Speed, New York, 2005, p. 3. 34 Ibid., p. 4 I. Introdu ion - 1. Approa hing the su je t 8 dail li es35, i ludi g slo ga de i g, slo fa il li i g, a d e e slo se .36 “u h a uals also suggest to stop ulitaski g, a d sa o to e e ts he it’s gei g to e too u h. These a e all st ategies fo gai i g o e i e, lo e i g the st ess le el, a d eaki g the ult of speed. As Italia edia theo ist F a o Be a di puts it [..] the te h olog is ot the p o le , ut the o i aio of i fo aio a d o peiio . We ust agai e o e aste s of ou i e Ch isia Ge e hightlights a othe e t e e of this t e d i Fra kfurter Allge ei e Zeitu g: E ts hleu igu g ist zu Heils e sp e he ei e alles zusa e üh e de Kultu k iik ge o de . , a d he suggests e should t to es ape the te de to ie e e thi g fast as e il. But the e is also a da k side of slo ess – it has al ead ge e ated a huge a ket, so that slo ess has tu ed i to a o odit . A a t e hi iio at the Ku st useu Wolfs u g Ge a e itled Die Ku st der E tschleu igu g (The Art of Deceleraio oa hes this issue i a o e deli ate a e . The autho s of the e hi iio ai tai that i ode a t o e a ot thi k a ele aio ithout de ele aio . The efo e, i the eal of a ts, ie i g the te de ies as e e ies is ot f uiful. Pa allel to oio the e has al a s ee al ess. The Ge a p ofesso of ultu al theo , Ha t ut Böh e, e p esses the sa e thesis – if e pit slo ess agai st pa e a d ha dle it as a i a opposiio , e ill su el pe pet ate e o i easo i g. Both odes of a t ha e thei eligi ilit , a d o l th ough that a e se u e a di e sit of fo s. “o iologist Ha t ut Rosa, a leadi g igu e i Ge a dis ussio s a out a ele aio i ou so iet , a k o ledges a t as ha i g a e spe ial pla e i the o ld. Na el , a t is a fo u he e a othe e pe ie e of i e is possi le. Ote a t o s iousl de ides to ofe slo ess
35 For example, Christine Louise Hohlbaum The Power of Slow. 101 Ways to save Time in Our 24/7 World, New York, 2009. 36 For more on this subject see Carl Honoré In Praise of Slowness: Challenging the Cult of Speed, New York, 2005. 37 Quoted in Geert Lovink Was uns wirklich krank macht in Frankfurter Allgemeine Zeitung, 26.06.2010, available at http://www.faz.net/aktuell/feuilleton/debatten/digitales-denken/informationsueberlutung-was-uns- wirklich-krank-macht-1595689.html#Drucken (Accessed 04.05.2012) 38 Geyer, Christia Beschleunigung ist nicht das Problem in Frankfurter Allgemeine Zeitung 11.01.2012 http://www.faz.net/aktuell/feuilleton/debatten/kritik-eines-heilsversprechens-beschleunigung-ist-nicht-das- problem-11600490.html (Accessed 07.06.2012) 39 Wolfgang Ullrich Einmassierte Ideen. Die Befreiung des `slow painting` aus den Mechanismen antimodernistischen Denkens in Markus Heinzelmann, Wolfgang Ullrich, Heinz Knobeloch (eds.) Slow Paintings, Nuremberg, 2009, p. 37. 40 Markus Brüderlin Vorwort in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bisAi Weiwei. Ostildern, 2011, p. 8. 41 Hartmut Böhme Wollen wir in einem posthumanen Zeitalter leben? Geschwindigkeit und Verlangsamung in unserer Kultur in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei, Ostildern, 2011, p. 4. 42 Wolfgang Ullrich Einmassierte Ideen. Die Befreiung des `slow painting` aus den Mechanismen antimodernistischen Denkens in Markus Heinzelmann, Wolfgang Ullrich, Heinz Knobeloch (eds.) Slow Paintings 2009, p. 37. I. Introdu ion - 1. Approa hing the su je t 9 a d paie e i stead of speed a d si ulaio .43 T o de isi e e e ts i a t histo that took pla e pa allel to ea h othe illust ate this oha itaio . I , the Futu ist Ma ifesto as pu lished i Pa is. Its autho , poet Filippo To asso Ma i ei ote:
We de la e that the sple do of the o ld has ee e i hed a e eaut : the eaut of speed. A a i g auto o ile ith its o et ado ed ith g eat tu es like se pe ts ith e plosi e eath ... a oa i g oto a hi h see s to u o a hi e- gu i e, is o e eauiful tha the Vi to of “a oth a e.44
At the sa e poi t i i e, Italia pai te Gio gio de Chi i o pai ted his pitura etaisica45, o tai i g efe e es to the thi al o ld of lassi al a i uit . Ma us B üde li , the u ato of the Die Ku st der E tschleu igu g e hi iio , puts de Chi i o i o te t ith lassi al ode is . I o pa iso to the d a i pai i gs of the futu ist o e e t, the pai i gs of de Chi i o e ude a at osphe e of e pi ess. These pai i gs appea to e al , ut deep do the p oje t a dis uiet that see s to o tai so ethi g th eate i g. De Chi i o’s a t ele ts a d ea o ld full of suspe se ith all its fea s a d a i gs.46 B üde li o e ts de Chi i o ith the su ealists, a d the efo e – ith lassi al ode is . “i e the s the e has ee a te de to a ds slo pai i g i the a t o ld, ut it is ot a sustai a le o e e t ith a ifestos. “lo pai i g takes o se e al fo s. It a e a e la ou -i te si e appli aio of olou like i the pai i gs of Ad Rei ha dt o Tu e p ize i e To a A ts . It a e a life-lo g p oje t like those of O Ka a a a d Ro a Opalka, he e ea h pai i g is a pa t of a igge s ste lasi g th oughout the life of a a ist. O , pai i g as a p oje t hose su pa ts a e sp ead a oss dife e t ou t ies a d deputed to a othe pai te s like i o ks of Jo atha Mo k . As o e of the u ato s of the e hi iio Slo Pai i gs i Museu Mo s oi h ightl e phasizes, as slo pai i g highlights the pe fo a e- elated aspe t of this a t fo , it is uite lose to o eptual a t. I o de to sho a a o i al o f o taio et ee slo a d fast pai i g, the a io pai i gs
43 Ute Ruhkamp, Marcus Brüderlin Hechelnde Politiker, crashende Finanzmärkte, chaotisches Schwingen, Burn-out, ewiges Leben. Interview mit dem Soziologen Hartmut Rosa, in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei, Ostildern, 2011, p. 11. 44 Filippo Tomasso Marinetti The Futurist Manifesto [1909], available at http://cscs.umich.edu/~crshalizi/ T4PM/futurist-manifesto.html (Accessed May 2012). 45 Markus Brüderlin Avantgarde der Entschleunigung. Bewegung und Ruhe in der Kunst der Moderne von Goethe über Caspar David Friedrich bis Ai Weiwei in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei, Ostildern, 2011, p. 19-20. 46 Markus Brüderlin Avantgarde der Entschleunigung. Bewegung und Ruhe in der Kunst der Moderne von Goethe über Caspar David Friedrich bis Ai Weiwei, in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei, Ostildern, 2011, p. 21. 47 Markus Heinzelmann Vorwort in Markus Heinzelmann, Wolfgang Ullrich, Heinz Knobeloch (eds.) Slow Paintings, Nuremberg, 2009, p. 7. 48 Ibid., p. 7. I. Introdu ion - 1. Approa hing the su je t 10 of Ja kso Polla k a e o t asted ith those of Ma k Rothko. Withi il , Da a Li sse , edito -i - hief of Dut h i depe de t il agazi e De Fil kra t, launched the Slo Criicis Project i . The Slo Criicis Project as e isio ed as a ou te ala e to the o odii aio of il ii is , hi h has e o e a a kei g tool fo il p odu io o pa ies as of late. “he states that it is o lo ge the il ii ho sets the age da, ut the s hedules of il fesi als, the elease dates of il s, the a ilit of sta s a d the fa ou s of pu li ists. “he a ts to eak this le ofe i g up the possi ilit of pu lishi g a i les i he agazi e’sSlo Ci e a issue pu lished ea h ea fo the Rote da Fil Fesi al . These a i le a e like ies f o the hea t o , as she puts it, a a d a i les ith u i g o ds that seldo i d thei a to p i t. I , Da a Li sse su a izesSlow Criicis as follo s:
That ki d of ii is is aki to i p o isaio al usi , it has a ki d of i edia a d u ge , ased o k o ledge a d skills, ut al a s ope to the adi al othe ess of hat o e ight e ou te alo g the a . That, i deed, is a o al espo si ilit . It is ii al a i is a d polii ue des ii ues.53
I sho t, it has to e a i -depth a al sis of il i stead of ii is do i ated a i a d- looki g, o shipful fa - o o i ge t o e i te ested i i di g e e o e o s u e di e to s to deif . 54 The uesio of slo ii is is i e ita l o e ted to the il s of slo i e a, as a of the il s a d autho s dis ussed o the pages of the Slo Criicis Project elo g to this o e e t. These il s eed i e to e ol e a d the efo e fa ou the lo g take. Whe eas the su je t of lo g take ill e looked at i a othe hapte of the disse taio , the p o le ith slo ii is has to e add essed. Na el , as Da a Li sse asse ts, if ou as a ii da e to ite a out slo il s ou ote ha e to sta t ou ii is ith a e use55, e ause at hi g these slo il s takes up so u h of the p e ious i e i the ie e ’s life. He e e e ou te the sa e u de sta di g of i e as the all fo slo i g do the pa e; a el , the u de sta di g of i e as alue a d o e Be ja i F a kli . Da a Lasse o e tl a k o ledges though, that as i e a is a i e- ased a t it’s a st a ge pa ado if o l a fast
49 Uta Ruhkamp Von der Emotion zur Kontemplation. Das Museum als Ort der Entschleunigung, in Marcus Brüderlin (ed.) Die Kunst der Entschleunigung. Bewegung und Ruhe in der Kunst von Caspar David Friedrich bis Ai Weiwei, Ostildern, 2011, p. 15. 50 Dana Linssen Introducing: Slow Criticism in Filmkrant, 2009, available at http://www.ilmkrant.nl/ slowcriticism_2009 (Accessed 06.06.2012). 51 Ibid. 52 Ibid. 53 Dana Linssen Out of the Comfort Zone in Filmkrant, 2011, available at http://www.ilmkrant.nl/ slowcriticism_2011 (Accessed 06.06.2012). 54 Nick James Passive aggressive in Sight and Sound, April 2012, Vol. 20, Issue 4, p. 5. 55 Dana Linssen Short Takes on Long Takes Criticism in Filmkrant, 2009, available at http://www.ilmkrant.nl/ slowcriticism_2009/6798 (Accessed 06.06.2012). I. Introdu ion - 1. Approa hing the su je t 11 il is a good il .56 “he elie es that people a t il s to e o e l fast i o de to ha e o e i e to spe d just li i g. Thus Ma e e should sa that il is a `i e aste a t`; a e e should sa that il is a `i e pass a t`. But ha i g o e i e let fo othe thi gs does ot ea that e ha e o e spa e i e - this has ee e pe suasi el a gued a ious p ophets of slo ess o e e ts. I stead of i esi g all this spa e i e i doi g othi g, e i est it i o li e o u i aio s, et ., thus pe petuai g this i le of a ele ated life speed. What o e ts all these dife e t o epts a d ho do the dife ? What u ites ost of these o epts is the idea of a tago is . The e is a st o g di ide et ee slo a d fast: slo food e sus fast food, slo o u i aio e sus fast o u i aio , slo ii is e sus fast ii is , a d so o . O e oio is posii e; the othe is see as a tago isi . Va ious autho s all fo a ala e et ee the t o sides of a p o le that u ites the . A d al ost all of the autho s u de o side aio a k o ledge the e eits of speed. But e’ e ea hed a edge, a d that’s h the all fo de ele aio is o i g at p e isel this o e t i i e. Our o sessio ith speed has go e too fa . Looki g at the o o de o i ato s that u ite slo i e a ith othe slo ess o e e ts, a uotaio the fou de of the “lo Food o e e t Ca lo Pet i i is i pla e. He states: De i kli he U te s hied z is he e s hiede e E fah u ge liegt i ht i de e Daue , so de da i , ie auf e ksa , ie a htsa u d e usst i sie e le e . I ega ds to slo pai i g, Wolfga g Ull i h also st esses the di e sio of i e: th oughout the lo g p o ess of eai g a o k of a t, the i po ta e of a isi i te io di i ishes. I stead, the i e itself e o es p o i e t. P e isel this o s ious pe epio of e e i ute spe t i the i e a is the ualit atested to slo i e a i the ate shed a i le Jo atha Ro e i the Fe ua issue of Sight and Sound agazi e: “u h il s highlight the ie i g p o ess itself as a eal-i e e pe ie e i hi h, ideall , ou e o e a utel a a e of e e i ute, e e se o d spe t at hi g. “o to a s e the uesio of h du aio al i e a popped up at p e isel this poi t i i e, slo i e a see ed to e a at h o ept as a lea alte ai e to Holl ood. The ost i po ta t aspe ts of the o ept of slo i e a, as ith othe slo ess o e e ts, a e a a i g fo authe i it a d e phasis o i e. Both e e tl pu lished disse taio s
56 Dana Linssen Short Takes on Long Takes Criticism in Filmkrant, 2009, available at http://www.ilmkrant.nl/ slowcriticism_2009/6798 (Accessed 06.06.2012). 57 Ibid. 58 Carl Honoré In Praise of Slowness: Challenging the Cult of Speed, New York, 2005, p. 4; Hartmut Rosa Beschleunigung. Die Veränderung der Zeitstrukturen in der Moderne, Frankfurt am Main, 2005, p. ? ; Reheis, Fritz Die Kreativität der Langsamkeit. Neuer Wohlstand durch Entschleunigung., Darmstadt, 1998, p.?. 59 Carlo Petrini Slow Food. Geniessen mit Verstand, Zurich, 2001, p. 50. 60 Wolfgang Ullrich Einmassierte Ideen. Die Befreiung des `slow painting` aus den Mechanismen antimodernistischen Denkens in Markus Heinzelmann, Wolfgang Ullrich, Heinz Knobeloch (eds.) Slow Paintings 2009, p. 37. 61 Jonathan Romney In Search of Lost Time in Sight & Sound, February 2010, p. 43. 62 Nick James Passive Aggressive in Sight& Sound, April 2010, Vol. 20, Issue 4, p. 5. I. Introdu ion - 1. Approa hing the su je t 12 o e i g slo i e a although this phe o e o is ot al a s a ed as su h , a e o e ed ith p e isel these t o aspe ts.63 Ho e e , the app oa h to the p o le take he e ith is i t i g to odel ho the ie e akes se se of these u usual il s. The follo i g hapte ill i t odu e the a al i al odels applied i these theses a d e plai the hoi e of ase e a ples.
63 Matthew Flanagan ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, University of Exeter, 2012, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (accessed May 2013), Tiago Magalhães de Luca Realisms of the Senses. Tendency in Contemporary World Cinema, University of Leeds, 2011, available at http://etheses.whiterose.ac.uk/1760/ (accessed May 2013). I. Introducion - 2. Methodological Toolkit 13 2. Methodological Toolkit
2.1. Hypothesis
We ake se se of the o ld i the fo of a ai es – it is a fu da e tal a of o ga izi g data as Ed a d B a iga stated.64 It is ot su p isi g the , that si e a ai e il has ee the do i a t ode of il aki g.65 It see s to e a t uis that ea h a d e e il is asso iated ith a a ai e. Taki g this i to a ou t, it is the u de sta da le that all des ipio s of slo i e a u de li e the pe ulia app oa h to a ai e as o e of the ai featu es of this t pe of il .
I te s of a aio i slo o du aio al i e a, il ii Jo atha ‘o e , ho oi ed the te , e io s o l o e of its ha a te isi . He su ised that slo i e a i i izes the i pa t of a e e t fa ou i g ood i stead.66 This ague dei iio alls fo a o e detailed o e o the su je t. I te esi gl e ough, the a ai e ode of slo i e a is dei ed th ough the egaio of it. Mathe Fla aga o de s i the i st se te es of his thesis ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film whether the e is a a ai e at all. Late o he states that the e e ts i these il s a e di o ed f o a ai e elaio s .68 Tiago Magalhães De Lu a, ho has ite a do to al thesis o a ealisi te de i o te po a a t i e a, does ot e pli itl add ess slo i e a, ut uses the sa e e a ples asso iated ith this g oup of il s. He ag ees ith Fla aga sa i g that the a ai e i the il s ited i his esea h is lata tl a e ted. The posiio i this stud is i ag ee e t ith Fla aga s thesis that: I slo il s, he d a ai a ai it is eje ted f o i age-sou d situaio s, othe aspe ts of the i age te d to o e fo a d to ill, o deepe , the oid: vision (in the fo of e te ded o se aio , the depi io of e e da ess, a d the p odu io of du aio . Ho e e , the e is a dife e e i ag ee e t pe tai i g to his state e t that slo i e a is o pletel de oid of a ai it . The assu pio is that this is just a s eepi g ge e alizaio fo the sake of o e ie e. “u p isi gl , o e of the s hola s ho ha e app oa hed the issue of slo i e a ha e deli e ed a i -depth a al sis of these ui k a ai es. This issue is dese i g of o e ate io , as the uotaio s ited a o e a e ha dl ele i e of e e thi g
64 Edward Branigan Towards a Pragmatics of Narrative in Jürgen Müller (ed.) Towards a Pragmatics of the Audiovisual. Vol. 2, Munster, 1995, p.17-54. 65 Edward Branigan Narrative Comprehension and Film. London, New York, 1992, p. xi 66 Jonathan Romney In Search of Lost Time in Sight & Sound, February 2010, p.43. 67 Matthew Flanagan Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film , University of Exeter, 2012, p. 4, https://ore.exeter.ac.uk/repository/handle/10036/4432 68 Ibid., p. 9. 69 Tiago Magalhães De Luca Realisms of the Senses. Tendency in Contemporary World Cinema, University of Leeds, 2011, available at http://etheses.whiterose.ac.uk/1760/ (accessed May 2013). 70 Matthew Flanagan: Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film , 2012, p.100, https://ore.exeter.ac.uk/repository/handle/1003 6/4432 I. Introducion - 2. Methodological Toolkit 14 su ou di g these u usual plots. Although these il s a e ot d i e the desi e to p ese t a ause-a d-efe t sto , the sill e ui e a st u tu e that f o the outside ea s o like ess to lassi al ai st ea a ai es. It is p o a le that the fo al featu es of slo i e a, su h as lo g takes a d ha a te s ith o ps hologi al oi aio fo thei deeds, ha e dist a ted the s hola s ate io a a f o the fa t that a ai e st u tu es a e p ese t i slo i e a. Thus, the ai pu pose of this p oje t is to s ui ize the plot o ga izaio of se e al e a ples of slo i e a, a d i doi g so o e th o the ge e alizaio that a ai e o st u io is ea i gless i this t pe of i e a. The hope is also to de o st ate that though e e ou te st u tu ed a ai es i o te po a du aio al i e a, i o pa iso to ai st ea il s, the deg ee of the tella ilit of a e e t a d the a ai it of the plot ha e to e take i to a ou t, as do pa i ula og ii e p o edu es.
The spe tato ill thus e o e a poi t of efe e e due to the elief of the il ie i g p o ess as o u i aio et ee the audie e a d the il . As ill e late e plai ed, it is ot just the le gth of the shot a d the at osphe e that dei es slo i e a. Mo e i po ta t is the pa e of the a aio as u de stood the ie e , hi h is de isi e fo the phe o e o . The e phasis ill e o il s he e the a aio - f o the ie e s poi t of ie - de elops slo l , a d the de i es fo u de sta di g the sto a e deli e ed ith dela . This is ostl o i ed ith s e e esoluio s do i ated lo g takes a d shots. The o se ue e of su h a a ai e st ateg is that the ie e is eleased f o the auto ais of e epio p edo i a t i sta da d Holl ood o ies. The fa t that the auto ais of e epio is eli i ated i slo il s is due to the a isi desig of the il – as e io ed, lo g shots he e othi g happe s e oke dife e t su je i e ea io s f o the ie e . Thus, a fu the ai of this stud is to odel the theo ei all dife e t possi iliies su h pe e se e epio st ategies of a il a e oke. Ho e e , i a k o ledgi g the i te p etaio as the ost o o st ateg ot o l fo o i g to g ips ith a il , ut also as o e to il studies, the i te t i this p oje t is ot to take the app oa h of usi ess as usual. This thesis ill i stead ate pt to suggest alte ai es i app oa hi g these a ai es, taki g the i te p etaio as a g a ted. The o ept of the ie e i i d is situated et ee the ideal eade a d the e pe ie es of a tual spe tato s. Co u i aio he ei is o side ed a e ip o al p o ess he e the te t il i this ase e okes e tai efe ts o the ie e . As the o st u io of the il lea es huge oo fo f ee asso iaio , the audie e a de elop se e al alte ai es of ho to deal ith it. Thus, the ie e i ests i te p etaio s i to the sto the il ake s did ot fo esee. The guidi g li e is that o ate hi h so t of i e a is u de o side aio , the ie e is al a s stee ed the ish to u de sta d the il , o at least to i d a a ho to ope ith it. O as Mei “te e g states, a a ai e al a s has to e see i a i a pu posi e light.
71 Meir Sternberg Narrativity: From Objectivist to Functional Paradigm in Poetics Today, 31:3 (Fall 2010), p.638. I. Introducion - 2. Methodological Toolkit 15 This p oje t is a fu io al app oa h to the a al sis of slo i e a, o i i g ethods a d o epts ste i g ostl f o post- lassi al a atolog , og ii is a d og ii e p ag ai s.
To egi : the a gu e t that the og ii e p o esses hi h take pla e du i g the ie i g of a slo il a e the sa e as du i g a ai st ea il . The dife e e is ithi the a t o ks i e st u tu es. But e appl the sa e og ii e s he ata i o de to u de sta d the a ai e, s he ata ei g a o ga ized luste s of k o ledge [that] guide ou h pothesis aki g. Da id Bo d ell, i his Sketch for a Psychology of Fil ic Percepio a d Cog iio , i t odu es a ious ki ds of s he ata: p otot pes to ide if i di idual e e s of a pa i ula lass , te plates to ide if pate s - i a il plot su h a pate ould e the so- alled a o i al sto , hi h is a te plate fo o ga izi g ausalit a d i e ithi a sto - the fou -a t- s he a K isi Tho pso , hi h ill e applied late o , is su h a te plate , o p o edu al pate s that i pl all lea ed skills su h as idi g a i le .Fo the o p ehe sio p o ess all th ee s he ata a e de isi e.
As the slo i e a e a ples ote possess dife e t deg ees of eak a ai it , thei a ai e desig e ui es a o pa a l g eate efo t to u de sta d the . Although i e a- edu ated ie e s as a g oup a e he ei ega ded as a atu al audie e fo slo i e a, e ha e to a k o ledge e i di idual espo ses to e e o k of slo i e a a d to e e e e t if a ep ese taio o the s ee a e o side ed as su h i the il , e e ithi this pa i ula g oup. Wo ki g o this thesis ithi a Eu opea pe spe i e o slo i e a, the atu al audie e fo slo i e a o side ed he e is shaped the i e a a d othe e pe ie es ithi this pa i ula ultu al, histo i al a d so ial f a e o k.
Thesta i g poi t is the plot o st u io of the il , e ause it is the asis of a il a al sis. Da id Bo d ell has a gued that the e a e fou t pes of a aio that ield o espo de t ie i g p a i es: e t to the lassi al Holl ood ode a e odes fo a thouse i e a, histo i - ate ialisi a d pa a et i a aio . The i t odu io to the th ee odes ge a e to this stud ill e dis ussed i due ou se; ho e e , at this poi t the theo put fo th “taige is i po ta t i that:
… e e pe iod of histo a d likel e e pla e it ess se e al odes of i e ai add ess, se e al odes of e hi iio , a d se e al odes of e epio . Mo eo e , a i di idual ie e a e gage even within the same theatregoing experience in these a ious odes of e epio .
72 David Bordwell: Narration in the Fiction Film. 1985, p. 31. 73 Ibid., p. 30-40. 74 Ibid., p. 34. 75 David Bordwell: Narration in the Fiction Film. 1985, p. 34-35. 76 Ibid., p. 36. 77 For the deinition of this concept see Chapter 2.2. 78 Janet Staiger Perverse Spectators: The Practices of Film Reception, New York, 2000, p. 21. I. Introducion - 2. Methodological Toolkit 16 The p oposiio he e is that i the ase of slo i e a the e a e also se e al possi le odes of ho ie e s seek to ake se se of the o s ee i ages, a d these odes a e e fu io o u e tl . Thus, the te tai e lai is that i slo i e a the pe e se st ategies fo deali g ith il s – efe ts that de iate f o the efe ts the il ake s ight ha e al ulated du i g the aki g p o ess - tu out to e the ost o o ta i s.
This stud does ot pu sue the path t adiio all take il s hola s hi h e tails ge e ai g the ai i te p etaio s of il , ut athe goes i a othe di e io , he e the st u tu al featu es of the il s a e i st leshed out. This e tails a ela o aio o the a t s he e of a pa i ula plot, taki g i to ega d its a ai e o st u io . It is a ii al o o pla e that the o k of a t is desig ed i o de to ge e ate pa i ula ea io s f o the audie e. It ill e o e of the issues of the p ese t thesis to dis uss ho fa these efe ts a e al ulated the p odu e . Thus, the se o d step ill suggest dife e t st ategies that ould e uilized the ie e i o de to o e to te s ith these halle gi g slo il s. The e thusias fo i te p etaio is just o e of the opio s Bo d ell has at ha d, a d this stud lai s that i the ase of slo i e a it is ot al a s the ost p odu i e o e. Ma of the di e to s o ki g ithi this u e t also st ess this i thei i te ie s. The lai he e is u de li ed the pe suasio that a i te p etaio seeks to i d ohe e e et ee all the ele e ts of the a t o k. As ill e de o st ated th oughout the p oje t, this is ote ot possi le i slo i e a. E e o e, it as also ot the ai of the il ake to jusif the i lusio of this o that ele e t i to the il . Thus, the i po ta e of i te p etaio is g eatl di i ished o e o es totall edu da t, aki g oo fo alte ai e st ategies su h as e oio al i ol e e t ithout a a ai e a ho , odil i e sio , o si pl the elishi g of the i age a d the p ese t o e t.
Ho e e , it ust e oted he e that i ost ases i this stud the use of the o d i te p etaio is ea t as a u ella-te fo all the possi le og ii e ea io s the audie e a ha e.
Apa t f o the a ai e a al sis to hi h the iggest pa t of this disse taio is dedi ated, the o ludi g hapte takes a othe ie o slo i e a - f o the pe spe i e of a staisi al st le a al sis. Although it is ot a t adiio al ethod that a ie e uses du i g a il s ee i g, this app oa h, if added to the fu io al pe spe i e o the il o p ehe sio des i ed th oughout this p oje t, sheds a e light o slo i e a. Na el , i all the des ipio s of this i e ai o e e t the i po ta e of the lo g take has ee st essed, hi h has ee see as a p oof fo the lai that the oio of slo /du aio al/ o te plai e i e a is aki to pa a et i it . Whe eas i the a al sis of the il s The Turin Horse and Fallen in the se o d pa t of this thesis the issue is app oa hed o the g ou ds of a ai e theo , the losi g hapte ill pu sue the i te a io et ee the ase e a ples a d thei elaio ship to pa a et i it f o the poi t of ie of staisi s. I. Introducion - 2. Methodological Toolkit 17 A o e ie of the theo ei al app oa hes used i this p oje t to odel these dife e t odes a d the e pla aio a out the il e a ples hose is ofe ed i the e t su hapte s. Befo e e a ki g o this e dea ou I just a t to la if that th oughout stud the oio s reader, viewer, audience, spectator, recipient ill e used i te ha gea l although I a a a e that i dife e t o te ts the ea i g of these o epts a dife o side a l .
2.2. Point of departure
The poi t of depa tu e i this stud is the fou -a t st u tu e of a ai e de eloped K isi Tho pso . “he a gues that Holl ood ai st ea p odu io s o sist of fou pa ts the “etup, the Co pli ai g A io , the De elop e t a d the Cli a a d a epilogue. “he spe iied he opi io i a log e t , e phasizi g that it s ot the fou a ts that a e de isi e, ut the idea that ea h il a e di ided i to pa ts ith the sa e a e age le gth, oughl to i utes. This ea s that a th ee hou il has si pa ts a d so o , hi h leads he to o lude that the a io should opi all u fo at ost a out half a hou ithout so e eall ajo ha ge o u i g.
The i st goal of this thesis is to p o e hethe the a ai e o st u io of slo i e a also o s to this la of thi t i utes, e ause the il i i e alloted to a di e to has to e st u tu ed so eho . Fo this e dea ou Tho pso s app oa h tu s out to e est suited as a sta i g poi t fo this p oje t, e ause i he stud she fo uses he ate io o the pu el st u tu al ele e ts of the plot, ithout po de i g the aspe ts of plot i te p etaio . The ela o aio o solel the a ai e seg e ts lies at hea t of this thesis.
Ho e e , the ost i po ta t dife e e et ee slo i e a a d its Holl ood ou te pa t is that the tu i g poi ts i these t pes of il s ote tu out to e dou le-deale s, ea i g that the paths laid out these tu i g poi ts ote lead to othi g. I te s of this ite io slo i e a o espo ds to the a t-house i e a a aio .
This stud s posiio is that lassi al a ai e theo is i sui ie t fo the dete io of a ai e seg e ts i slo i e a. Co epts dee ed app op iate fo su h a task o e i stl f o post- a atolog , a d se o dl f o og ii e p ag ai s. These t o pe spe i es o i ed help to g asp the u usual o ks of slo i e a. This stud ill a gue that the a ai e pa ts i these il s do ot al a s ha e the sa e le gth a ge, although e sill e ou te si ila a ai e st u tu es. But as the a ai it is a s ala atego , the ualit of a pa i ula e e t its tella ilit /poi t – o epts hi h ill e e plai ed late o is g ada le; it has di e t o se ue es fo the a ai e seg e taio of the sto . Fo the dife e t deg ees of e e ts, the o te t a d its ele a e to the fu the de elop e t of the sto is u ial. Both these
79 For further reading on this subject see Janet Staiger Media Reception Studies, New York, 2005, p. 3. 80 Kristin Thompson Times go by turns in Observations on Film Art, June 21, 2008, available at http://www. davidbordwell.net/blog/2008/06/21/times-go-by-turns/ (Accessed 28.07.2012). 81 Ibid. I. Introducion - 2. Methodological Toolkit 18 aspe ts o diio ea h othe so that the a ts i a slo il a also e o e a elai e atego – the e a e il s i hi h the a ts a e lea ut, ut the e a e also il s he ei the a ts a e ha dl dis e i le. The fa t that the a t st u tu e loses its p o i e e ea s that the ause a d efe t hai has ee sla ke ed. He e, e ha e to ethi k hethe e tai slo i e a e a ples sill possess a ai e, o hethe the a e al ead just a des ipio o a atalogue. Du i g the ou se of the a al sis the issue of the i i al o diio of a ai e ill e e o side ed.
All i all, so e st u tu e a e fou d i a il , e e if it is a ui k slo il . Ho e e , if e follo Da id Bo d ell ho o i i gl a gues that oth the a ai e st u tu e a d the p o ess of a aio a e desig ed to fulil a e tai fu io , the hat dife e iates the slo i e a st u tu es f o the pe epi le a ts of ai st ea Holl ood p odu io s is thei fu io . I ase of the late , it is ho the ie e ide iies ith the ha a te s o s ee , he eas i ase of the slo i e a a pe a e t deta h e t f o the sto o es i to ei g. Oddl e ough, although ie e s e ai u i ol ed ith the e e ts i these il s, the a e i e sed i the e i o e t as su h. De Lu a ightl o se es a e te de to a ds se sualit a d ate ialit i slo il s, ut he o e looks the a ai e st u tu es that e a le the . Thus this disse taio fo s a issi g li k et ee the il s a d De Lu a´s o se aio s, a d e e o e so la s out the a gu e t that i slo i e a dife e t app oa hes a e possi le fo the ie e to ake se se of the il .
A suppo i e e pla aio fo this ie is the so- alled P otheus p i iple, hi h Mei “te e g fo ulated i stai g that i dife e t o te ts [..] the sa e fo a fulil dife e t fu io s a d dife e t fo s the sa e fu io .84 This p i iple a k o ledges that e e o k of a t a i ite se e al dispa ate i te p etaio s, ot just o e, as it is ote the ase i t adiio al a atolog .85
. . Degrees of arrai it a d dei iio of arrai e
As o se ed ‘e é Audet, the te s a ai e, a ai e ess et ., ha e e pe ie ed a e plosio i te i olog o e the last de ades. 86 To gi e a detailed o e ie of the thi ket of all theo ei al posiio s o e i g this issue ould go e o d the s ope of this esea h, thus the ish is to poi t to the aspe ts that a o t i ute f uifull to the a al sis of slo i e a.
82 For more on relationship between narrative, description and catalogue see Seymour Chatman Coming to Terms: The Rhetoric of Narrative in Fiction and Film, Ithaca, 1990. 83 David Bordwell Neo-Structuralist Narratology and the Functions of Filmic Storytelling in Marie-Laure Ryan (ed.) Narrative Across Media. The Languages of Storytelling, Lincoln, 2004, p. 207. 84 Meir Sternberg Proteus in Quotation-Land: Mimesis and the Forms of Reported Discourse in Poetics Today, Vol. 3, No. 2 (Spring, 1982), p. 148. 85 Bruno �erweck Der Cognitive Turn in der Erzähltheorie: Kognitive und `Natürliche` Narratologie in Ansgar Nünning, Vera Nünning (eds.) Neue Ansätze in der Erzählttheorie, Trier, 2002, p. 223. 86 René Audet Narrativity: Away from story, close to eventness in René Audet, Claude Romano, Laurence Dreyfus, Carl Therrien, Hugues Marchal Narrativity: How visual arts, cinema and literature are telling the world today, Paris, 2007, p. 9. I. Introducion - 2. Methodological Toolkit 19
I a ase, the i st issues that e it lose o side aio a e the dife e t app oa hes to a ai e i post- lassi al a atolog . A poi t of efe e e fo ost of these i d-sets is the assu pio that the ea i g of a te t is a og ii e o st u t, o e tal i age o luded the eade o ie e i this ase i espo se to the a t o k. The ea i g is the efo e ot just p edete i ed the autho ut i stead, i o de to o p ehe d the te t, i depe de e is g a ted to the i te p etai e apa it of the e ei e . It does, ho e e , o u ithi li itaio s that ill e spe iied late o .
The ost useful f a e o k fo the a al sis of the hose e a ples has ee laid out Ma ie- Lau e ‘ a i se e al a i les o e i g o el fo s of a ai e i the o te po a edia e i o e t. “he akes a de isi e poi t d a i g a disi io et ee ei g a a ai e a d possessi g a ai it .88 The i st a e at i uted to a se ioi o je t p odu ed ith the i te t of e oki g a a ai e s ipt i the i d of the audie e. The se o d oio des i es the a ilit to t igge su h a s ipt. Life itself, fo e a ple, a ha e a ai it , ut it a ot ause a ai e i a lite al se se. Put dife e tl , the deg ee of a ai it o e s oth the sto itself a d the dis ou se.
A o di g to ‘ a , the lassi ase of a ai it takes pla e he the te t is oth i te ded as a ai e a d possesses sui ie t a ai it to e o st u ted as su h. This s ala o ept of a ai it akes the igid i a oio of a ai e edu da t, a d this stud st o gl adhe es to the posiio that i o de to ost suita l a k o ledge o te po a a t o ks, e a ot p o eed st i tl di idi g a ai es a d o - a ai es. I stead, a o e ei ed app oa h is eeded.
Lite a s hola B ia M Hale, i a al si g a a t-ga de poet , suggests the oio of eak a ai it . As it ill e o e of the tools i this a al sis, the dei iio gi e M Hale is o th uoi g at le gth:
Weak a ai it i ol es, p e isel , telli g sto ies `poo l `, dist a tedl , ith u h i ele a e a d i dete i a , i su h a a as to e oke a ai e ohe e e hile at the sa e i e ithholdi g o it e t to it a d u de i i g o ide e i it: i sho t, ha i g o e s ake a d eai g it too.
His dei iio eads as if it as de eloped ith slo i e a i i d.
87 Marie-Laure Ryan Introduction in Marie-Laure Ryan (ed.) Narrative across media: the languages of storytelling, Lincoln, 2004, p.8. 88 Ibid., p. 9. 89 Ibid., p. 9. 90 Ibid., p. 9. 91 Marie-Laure Ryan Introduction in Marie-Laure Ryan (ed.) Narrative across media: the languages of storytelling, Lincoln, 2004, p.9. 92 Marie-Laure Ryan Avatars of Story, Minneapolis, 2009, p.232. 93 Marie-Laure Ryan Introduction in Marie-Laure Ryan (ed.) Narrative across media: the languages of storytelling., Lincoln, 2004, p. 9. 94 Brian McHale Weak Narrativity: The Case of Avant-Garde Poetry in Narrative, Vol. 9, Nr.2, 2001, p. 165. I. Introducion - 2. Methodological Toolkit 20 Also, eak a ai it p esupposes a s ala o ept of a ai it . This ea s that the issue of the i i u o diio s of a ai e/ a ai it has to e oa hed, as se e al ea io s to slo i e a suggest that these a e p o i e t e a ples situated o the o de et ee a ai it , eak as it a e, a d o - a ai it . The efo e, a dei iio of a ai e is eeded.
Fo this pu pose, Ma ie-Lau e ‘ a uses the dei iio of a ai e de i ed f o the o e p oposed H.Po te A ot a d states that a ai e is the p ese taio o ep ese taio of a e e t o a se ies of e e ts. The ost o t o e sial aspe t i this dei iio o e s the atu e of e e ts i a ai e, a d the uesio hethe the elaio ship et ee t o o o e e e ts i a sto has to e ha a te ized ith ha ge of state. The ost o o dei iio of a ai e that p esupposes a ge e al e uili iu hi h is at i st distu ed, the esto ed at the e d, e tails p e isel this. The efo e, the i li aio is to thi k that i ase of slo i e a the o epts of e e t ess a d e e ful ess a e o e useful.
. . E e t, e e t ess a d e e ful ess
The i st o ept of e e t ess, as he a ed it, as de eloped ‘e é Audet, ho p oposes to take the e e t as the ato i st u tu e of a a ai e i stead of a io . Ho e e , as the oio as de eloped f o a phe o e ologi al pe spe i e it is ot useful fo the pu poses of this stud , ut his suggesio to dei e a e e t as ea h a t hi h ould ha e a efe t o thi gs u foldi g. , is. As Audet suggests late o i his lassii aio of e e ts, this dei iio e tails ot o l a i o d e e t hi h o e s the sto - o ld, ut also a dis u si e e e t a d a ope al e e t – o e ted to the pe fo i g of the o k itself . All th ee odes of e e ts a t igge a ai it .
A o e detailed a d ela o ate dei iio is ofe ed Wolf “ h id. He si ks to the t adiio al o ept of a e e t as it is used i lite al theo , a d de a ds that a t ue e e t has to ha e a aspe t of e epio alit that disi guishes it f o e e da oui e. “ h id lists fu the asi e ui e e ts fo a e e t. He e io s that a e e t has to e ega ded as eal ithi the f a e o k of a a t o k - it has to possess esultai it . Fu the o e, “ h id adds i e o e featu es to a ha ge of state i o de fo a thi g to e ega ded as a e e t. These featu es the o t ol the le el of e e ful ess i ea h ha ge of state. These a e: ele a e, u p edi ta ilit , pe siste e, i e e si ilit a d o -ite ai it . Ea h of these atego ies
95 Marie-Laure Ryan On the theoretical Foundations of Transmedial Narratology in Jan Christoph Meister (ed.) Narratology beyond Literary Criticism. Mediality, Disciplinarity, Berlin, New York, 2005, p.4. 96 René Audet Narrativity: Away from story, close to eventness in René Audet, Claude Romano, Laurence Dreyfus, Carl Therrien, Hugues Marchal Narrativity: How visual arts, cinema and literature are telling the world today, Paris, 2007, p. 10. 97 Ibid., p.28. 98 Ibid., p. 33. 99 Wolf Schmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald Müller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 24. 100 Wolf Schmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald Müller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 24-29. I. Introducion - 2. Methodological Toolkit 21 a e fu the g adaio al. This stud ill a gue, ho e e , that i so e ases of slo i e a a ai es the o epts of ele a e, u p edi ta ilit , pe siste e, i e e si ilit a d o - ite ai it , useful fo the a al sis of lassi al a ai es, lose thei i po ta e. It is the efe e e to the , although th ough de ial, that foste s a a a e ess of the ha a te isi featu es of slo a ai e. A a al sis of the hose e a ple ill e o e e pla ato , ut at this stage just o e aspe t of o -ite ai it should e highlighted. Na el , “ h id a k o ledges that te t, hi h o tai s ite aio , app oa hes the ode of des ipio . Fo the a al sis of slo i e a the te sio et ee a sto , a des ipio a d atalogui g ill e of g eat i po ta e.
At the e d of his essa “ h id add esses the issue of i te p etaio a d the i te p etai e f a e o k of a a t o k. He adhe es to the posiio that E e the asi task of e og izi g a ha ge of state is, o e ote tha ot, hea il depe de t o i te p etaio . “lo i e a is a p i e e a ple of this state e t as ill e sho late o . Addiio all , “ h id e io s that e e ful ess is a ultu e-spe ii phe o e o , a d this aspe t is also e u h a ifest i the i te p etaio of e e il , ot just slo i e a. The o te t is also de isi e i t igge i g e tai i te p etaio . I the ase of il theo this issue is usuall add essed u de the tag of ge e theo . Thus, i o de fo a e e t to e e og ized as su h, the issue of elo gi g to a e tai g oup of il s a e u ial. As this a al sis of slo i e a ill de o st ate, e e the deg ee of a ai ess et ee dife e t a ai e e e ts i dife e t slo i e a il s a de o st ate a e la ge a ge.
“ h id´s olleague f o the Ha u g ‘esea h G oup Narratology, Pete Hüh , e la ges the oio of o te t, a i g ge e as ell as ultu e, so ial g oup, histo i al pe iod a d autho as elo gi g to the ite ia. Hüh also u de li es that a ha ge of state a e ega ded as a e e t f o the poi t of ie of a ha a te , ut ot f o the poi t of ie of the eade o i e e sa. This is a good a gu e t that has to e kept i i d fo fu the a al sis, as this stud s dei iio of slo i e a i plies that the il s dei ed as slo a e those i hi h plot de elop e ts a e ega ded as slo f o the poi t of ie of the audie e. Thus, o e of the tasks of this p ese t a al sis is to lesh out this thesis.
I o de to a k the dife e es et ee slo i e a a d Holl ood p odu io s, se e al tags of a ai e theo should e highlighted. With its old de ial of a st o gl i te t i ed a ai e, du aio al i e a la s a e the o e o e io s of lassi a ai e il , de eloped
101 Wolf Schmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald Müller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 29. 102 Ibid., p. 30. 103 Ibid., p. 30-31. 104 Peter Hühn Functions and Forms of Eventfulness in Narrative Fiction in John Pier, Ángel Garcia Landa (eds.) Theorizing Narrativity, Berlin, 2011, p. 148. 105 Ibid., p. 148. I. Introducion - 2. Methodological Toolkit 22 i the e a efo e .
. . U ited arrai e s. o je i e realis
Holl ood p efe s u ited a ai es, hi h a e est des i ed as a ause-a d-efe t hai , u oke a oss the il . The da gli g ause , hi h Tho pso dei es as i fo aio o a io hi h leads to o efe t u il late i the il , is the de isi e fa to . The highest ai of all Holl ood il s is to a hie e losu e i all plotli es a d su plots. Ea h a ai e de elop e t has to e oi ated a d jusiied othe ele e ts of the il . Ge e o e io s ote p o ide su h oi aio fo sto de elop e t.
I o pa iso , Da id Bo d ell oa hes the issue of a t i e a a aio stai g that this t pe of i e a also o e s e tai o e io s of st le a d sto . But it does so a o di g to the a t i e a t adiio . That is h a de i e, hi h see s st a ge o u i ue pe se, e o es fa ilia if see i the o te t of a t i e a a d fulils a fu io ithi the a t o k. Bo d ell fu the lists the o e io s of a t i e a. Fi st of all, the a i hi h a o ie is p ese ted is as i po ta t as hat is p ese ted o the plot a e e e o e i po ta t tha the sto .
Mathe Fla aga , ho as o e of the i st to des i e the phe o e o of slo i e a, also suggests that I te s of sto telli g, the fa ilia hege o of d a a, o se ue e a d ps hologi al oi aio is o siste tl ela ed, ea hi g a poi t at hi h e e thi g o te t, pe fo a e, h th e o es e ui ale t i ep ese taio .
“e o dl , i o de to u de sta d the sto o e ust go outside the il to seek efe e es. Bo d ell st esses that p e isel this featu e a ks the dife e e et ee ai st ea a d a t i e a a aio ; the ie e has to ill i a lot of la k holes i the a ai e a d a lot a e let to the i agi aio . Addiio all , e pe taio s ostl tu out to e o g, so e e o li t situaio s sho o s ee a e ot de eloped fu the o so eho esol ed.
A a t il ight e e la k ohesio de i es – ele e ts that ie s e es togethe . A il a ote e a lo g st et h of p ese ted e e ts, la ki g hooks o a ause-a d-efe t- hai . It is also possi le that a a io s ausalit has to e igu ed out ate a ds. It is i po ta t to keep i i d that i a t il s the e al a s a e s e es, e e ts o ha a te s that esist a i te p etaio .
106 Kristin Thompson: Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999. p. 10. 107 Ibid., p. 12. 108 Ibid., p. 12. 109 Ibid., p. 12. 110 Ibid., p. 13. 111 David Bordwell How to watch an art movie, reel 1 in Observations on ilm art, August 26, 2012, available at http://www.davidbordwell.net/blog/2012/08/26/how-to-watch-an-art-movie-reel-1/ (Accessed 02.09.2012). 112 Matthew Flanagan Towards an Aesthetic of Slow in Contemporary Cinema in 16:9, 29, 2008, available at http://www.16-9.dk/2008-11/side11_inenglish.htm (Accessed 06.06.2012). I. Introducion - 2. Methodological Toolkit 23 What a e the ai i te p etai e p i iples of a t i e a? Bo d ell puts it as follo s:
The a t i e a oi ates its a ai es t o p i iples: ealis a d autho ial e p essi it .
The autho fu io s as a i sta e hi h st u tu es the il i o d a d he also e o es a fo al o po e t, hi h u iies the te t. The i e a-edu ated ie e al ead a aits t aits ha a te isi to a di e to i uesio . The ie e th oughout the ie i g p o ess at i utes the e e ts o the s ee eithe to o e o a othe t adiio .
Aesthei st ateg of a iguit – that s ho the a t i e a sol es the p o le of the o t adi io et ee ealis s a d autho ial su je i it .
2.6. The protagonist and his goals
Ge a il s hola Je s Ede de eloped the ost o p ehe si e odel fo ha a te a al sis i il Die Figur im Film. Grundlagen der Figurenanalyse, . He defe ds the posiio that, although a theo ei ia s ould a gue that the e iste e of ha a te s is eithe a e essa o a sui ie t o diio fo a te t to e a a ai e […] i io al a ai es ithout ha a te s a e at pi al.
K isi Tho pso ag ees ith hi that a goal-o ie ted p otago ist is ha a te isi to lassi al [il ] a ai es. Co se ue tl , ha a te t aits t igge the oi aio fo thei hoi es a d e e ts, e ause the a t o siste tl . The ha a te s desi e p o ides the fo a d i petus fo the a ai e. The ha a te seeks to a i el pu sue goals a d this dei es the ai li es of a io . This leads to a othe dei ite t ait of Holl ood a ai e – that of the dou le plotli e, ith o a e ei g the e t al o e. T pes of p otago ists i lassi Holl ood a e di ided i fou g oups: the Idol , the E e a , the U de dog a d the Doo ed .
O the o t a , i a t i e a a ai e su h a lassii aio of ha a te s is i possi le. I a t i e a the ha a te is ote fo ed to a t, a d is t led desi es. These p otago ists ote do ot pu sue goals, o the goals a e a iguous. The e also is ´t the i e p essu e a d deadli es o o i lassi al a ai e. The ha a te s i a t i e a a e ostl p ese ted th ough thei e e da oui es.
113 David Bordwell The Art Cinema as a Mode of Film Practice in David Bordwell Poetics of Cinema, New York, 2008, p.153. 114 Ibid., p.154. 115 Ibid., p. 156. 116 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 208. 117 Jens Eder Narratology and Cognitive Reception Theories in Tom Kindt & Hans-Harald Müller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 280. 118 Kristin Thompson Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999, p. 13. 119 Ibid., p. 14. 120 Ibid., p. 14. 121 Ibid., p. 47. I. Introducion - 2. Methodological Toolkit 24 As the eadi g of the e est a ai e theo suggests a goal-o ie tated p otago ist o situtes a di idi g li e et ee a lassi al a d a o - lassi al plot. Ma ie-Lau e ‘ a , i des i i g the og ii e te plate upo hi h the a ai e is uilt, a es, alo gside the o st u io of a age t a d o je t a d ha ge of state, the et o k of o e io s o situted the goals of the age t, his pla s a d e oio s. ‘ a poi ts out that the egle t of these o e io s eates lo a ai it , hi h is usual fo post ode te ts. Although slo i e a a ot e asso iated ith post ode i e a, a lo deg ee of a ai it a ifests itself i these il s, hi h is losel o e ted to the eake ed li ks et ee the p otago ist, his goals a d his a io s. Ne e theless, this thesis ill p ese t the a gu e t th oughout that the fou -a t- s he a, as p oposed Tho pso , sill has its useful ess he e. This ill e i t odu ed i the e t su hapte .
. . Four-a t-s he a
As al ead e io ed, Tho pso a es the fou a ts of a il as follo s: the “etup, the Co pli ai g a io , the De elop e t a d the Cli a .
I the setup, the i iial situaio is esta lished a d ote goals a e dei ed. I the o pli ai g a io , as Tho pso uotes “ d Field, the a io is take i a e di e io . In the de elop e t e o sta les o u , hi h p e e t the p otago ist f o ea hi g his goals. In the li a , all the a io heads to a ds the i al esoluio . The sto is i ished a sho t epilogue.
I he g ou d- eaki g stud K isi Tho pso also poses the uesio of ho the la ge-s ale pa ts a e ala ed. “he suggests that the to - i ute a ge ight o espo d to the ate io spa of the spe tato . This ould e the easo h slo i e a also pa tl si ks to this s he a. Ho e e , this stud ill a gue that i o de fo a a al sis of the fou -a t-s he a i slo i e a, these a ts a d thei a ge ha e to e o side ed taki g i to a ou t ea h pa i ula il s deg ee of a ai it , the e pe taio s of the ie e to a ds the il a d the oade o te t.
. . Tur i g poi ts a d slo il s
The dei i g o e ts fo the a ai e a e so- alled tu i g poi ts. K isi Tho pso dei es
122 Marie-Laure Ryan On the theoretical Foundations of Transmedial Narratology in Jan Christoph Meister (ed.) Narratology beyond Literary Criticism. Mediality, Disciplinarity, Berlin, 2005, p. 4. 123 Kristin Thompson Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999, p. 28. 124 Ibid., p. 122. 125 Ibid., p. 29. 126 Ibid., p. 43. I. Introducion - 2. Methodological Toolkit 25 the as u ial e e ts o ha ges i the sto li e. Mostl it is oth: a shit i the p otago ist s goals a d a shit to the e t la ge pa t of the a ai e. Tu i g poi ts ote o u at the e d of ea h of the fou pa ts, o just ate the egi i g of a e seg e t. But ote a tu i g poi t is t just a si gle o e t, ut a a io that a last fo so e i e. I a ase, a tu i g poi t i gs a fu io al ha ge to the a io . As Da id Bo d ell, a k o ledgi g Tho pso s odel, puts it, Although all e e ts i a plot a o t i ute to the o e all p og essio , so e i tuii el sta d out as sig ii a t o e ts, a d othe s a e lea l se o da .
A tu i g poi t a o u he o e goal is a hie ed a d epla ed a othe o e. O it a ea a shit i ta i s to a hie e a goal. I o de to a al se il plots, Tho pso takes the ha a te ´s goals a d ha ges the to a ite io that helps to dete t the fou -a t st u tu e of the il . This ethod is a a al i al tool, hi h helps to o tai o je i e esults f o the a ai e a al sis.
Fo the a al sis of slo i e a the ha a te a ot al a s se e as the e essa u ial fa to , as the ha a te is t the l hpi of the sto as i a ai st ea il . Co t a to Holl ood il s, e ote do ot get to k o the goals of the ha a te o his oi aio s.
This stud p oposes that i ase of slo i e a, the a al st has to seek the tu i g poi ts as e e ts i the sto that a e so eho outsta di g f o the est of the il . It ight e e e that i slo i e a a e i fo aio a dei e a tu i g poi t. But ote that su h tu i g poi ts a e situated ot o l o the plot-le el – i the ase of slo i e a, a st lisi de i e that pe fo s i po ta t sto telli g fu io s a o k as a tu i g poi t. I this ega d, this stud s dei iio of a tu i g poi t follo s the dei iio of a e e t ‘e é Audet. A loose dei iio of a tu i g poi t i slo i e a ould e as follo s: a e i fo aio , hethe au al, e al o isual, hi h see i gl leads the sto i to a othe di e io , a fu io as a tu i g poi t. A othe dife e e f o lassi a ai e ould e that these tu i g poi ts ote lead to see i gl othi g, as it late tu s out. But he e a i ed deepe , it e o es lea that this othi g ea s that the e pe taio s aised the a ai e e e ot fulilled.
“u h tu i g poi ts also possess a othe goal - the se e to e e the i te est of the ie e i the sto itself.
A i te esi g poi t is o e e io ed Da id Bo d ell: that e usuall uild the sto - o ld th ough la d a ks, ot the a isi details of sei g, a d that the audie e o e looks st lisi
127 Kristin Thompson Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999, p. 23. 128 David Bordwell Three Dimensions of Film Narrative in David Bordwell Poetics of Cinema, New York, 2007, p. 108 129 Kristin Thompson Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999, p. 29. 130 Ibid., p. 27. I. Introducion - 2. Methodological Toolkit 26 featu es altogethe . This p oje t s thesis is that i slo i e a st lisi s pla a i po ta t ole, a d the ta get g oup, a i e a-edu ated audie e, is a le to a k o ledge this.
I slo i e a, the tu i g poi t ill ot e o ligato il o e ted to the ha a te s goals as i t adiio al il aki g p a i e. ‘athe , it a e a pa t of the sto hi h o tai s i po ta t i fo aio fo the ie e a d helps fu the de elop the sto .
F a kl , the dete io of tu i g poi ts i slo i e a is a p o le ai e dea ou fo a s hola . Be ause the a e ot as appa e t as i ai st ea i e a, al ost e e state e t a out a pa i ula tu i g poi t a e o tested. O e a go e e as fa as to allege o e a , p ese t stud i luded, ead i to it hat o e e pe ts to see. O e of the goals of this thesis is to de o st ate that, although opi io s a out pa i ula tu i g poi ts i slo i e a a dife , slo il s a e di ided i to digesi le hu ks .
Also, tu i g poi ts i a t i e a oa h the issue of a ie e s ate io . I a t i e a as a hole a d i slo i e a i pa i ula , it is ote al ost i possi le to egiste all the i po ta t details du i g the i st ie i g. Thus, slo i e a de a ds epeated ie i gs a d a ote i e ita le o sultaio of se e al pa ate ts su h as il fesi al atalogues, p ess kits, i te et esou es et ., i o de to u de sta d the sto . This poses a p o le fo a il s hola , e ause i o de to odel o e o less o e tl the p o ess of u de sta di g a il du i g ie i g, o e ust el o o e s o o te tual k o ledge a d o hat o e sees o s ee . Ho e e , u de sta di g a il u de su h si pliied o diio s o t adi ts the de a ds of s ie ii esea h, hi h is p i ed to fa ilitate the u de sta di g of a a t o k th ough the gi i g of addiio al i fo aio . This a al sis ill t to thi k as a e e of the ta get audie e of slo i e a, ut ill also seek addiio al i fo aio a out the il s.
The des ipio of ai a ai e featu es ofe ed a o e does ot take the ie e i to o side aio . But the og ii e aspe t i the pe epio of a a ai e has to e st essed si e the spe tato ´s o p ehe sio of the sto is the p i ipal ai of a aio . Fil s hola Jaso Ge dle has e plai ed that i o de to u de sta d the sto , e ha e to po de oth aspe ts – the og iio a d the a ai e o st u io , e ause og iio alo e is a litle too le i le a d dis ega ds too u h of the il s a tual a ai e i fo aio . B addi g the fo al o st u io of the il to the a al sis, it fu io s as a sta ilizi g fo e fo og ii e a io s.
131 David Bordwell Cognition and Comprehension. Viewing and Forgetting in Mildred Pierce in David Bordwell Poetics of Cinema, New York, 2008, p. 143-144 132 David Bordwell Three dimensions of ilm narrative in David Bordwell Poetics of Cinema, New York, 2007, p. 109. 133 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 30. 134 Jason Gendler Where Does the Beginning End? in Projections. The Journal for Movies and Mind, Vol. 6, Nr. 2, 2012, p. 67. 135 Jason Gendler Where Does the Beginning End? in Projections. The Journal for Movies and Mind. Vol. 6, Nr. 2, 2012, p. 67. I. Introducion - 2. Methodological Toolkit 27 To egi : a deli eaio of Da id Bo d ell s ai ideas o il pe epio , ot o l e ause he is the ost i lue ial o te po a il theo ei ia , ut also e ause his ie s elo g to the og ii e il theo this stud adhe es to. The assu pio o hi h his theo is ased, that edia a e ega ded ot as a ode of sig s ith a i t i si a d i ed a ai e ea i g ut as ope -e ded epe to ies of esou es a d de i es , is a p e ise hi h this stud ega ds as a esse ial poi t of depa tu e i the a al sis of a il .
. . Role of the ie er
Da id Bo d ell states that the ost i po ta t is hat the ie e sees – hi h i fo aio is gi e o hi h i fo aio is ithheld. This p o ess a e i u s i ed as il a aio . I doi g so the a ai e t adiio has to e o side ed, e ause ea h akes e tai e gi ee i g p i iples o e likel tha othe s.
But ho a e u de sta d the slo i e a il s if the la k a ight plot, if the p otago ist is ´t a ps hologi all de eloped ha a te , if he has o goals, o if the goals a e ague? I o de to u de sta d any il e use ou a iliies that o e f o ou pe epio of i ages, f o folk ps holog a d f o so ial i tellige e. Da id Bo d ell poi ts to Paul Messa is, ho lea l stated that e o p ehe d i ages usi g ou a iliies to e og ize o je ts a d spaial la outs i ou e e da o ld. Fo that o spe ial t ai i g is e ui ed. The sa e applies to folk ps holog – it d a s o ou o o se se- easo i g, hi h, like ou pe epio of i ages, a e oss- ultu al u i e sals. This i di g is e i po ta t fo the slo i e a e a ples as the o e f o dife e t ultu es. Ho e e , i due ou se the issue o the oss- ultu al atu e of slo i e a ill ha e to e eassessed.
‘etu i g to the uesio of a ai e, Da id Bo d ell su su es the issue as follo s:
I p i iple, a ai e is ute l oppo tu isi a d p o is uous. It o ilizes s ste s a d pa ial s ste s f o all a eas of life. It seizes a thi g that a se e its pu pose, ega dless of logi al o o tologi al o st ai ts, a d slaps togethe all of dispa ate ues. Be t o shapi g ou e pe ie e i i e, it d a s upo hate e ill do the jo .
If this is the ase, the fo this u de taki g the e ust e a sea h fo a ethod o app oa h that ould se e as ie i g heu isi s i o de to odel the audie e s possi le ea io to il s. “u se ue tl , this stud ill sho that dife e t p ag ai o epts a e of use. But
136 Marie-Laure Ryan Moving Pictures in Marie-Laure Ryan (ed.) Narrative across Media, Lincoln, 2004, p. 196. 137 David Bordwell Visual Style in Cinema. Vier Kapitel Filmgeschichte, Frankfurt am Main, 2001, p. 13. 138 David Bordwell Three dimensions of ilm narrative in David Bordwell Poetics of Cinema, New York, 2007, p. 126. 139 David Bordwell Common Sense + Film Theory = Common-Sense Film Theory in Observations on ilm art, May 2011. http://www.davidbordwell.net/essays/commonsense.php (Accessed 02.05.2012). 140 Ibid. 141 Ibid. 142 David Bordwell Three dimensions of ilm narrative in David Bordwell Poetics of Cinema, New York, 2007, p. 126. I. Introducion - 2. Methodological Toolkit 28 efo e i t odu i g these o epts the issue of a il ie e has to e dis ussed f o t o dife e t pe spe i es. Fi st of all, the o e all il i e pe ie e has to e des i ed a d the uesio a out ho o situtes the audie e fo slo i e a has to e oa hed.
. . Fil as a e perie e
Although il theo ist Vi ia “o ha k´s ie s a e g ou ded i phe o e olog , hi h is ot the o ept dee ed app op iate fo this stud s app oa h to slo i e a, she akes a p ope l good poi t i dei i g the il ie i g´s p o ess stai g that:
.. e see a d u de sta d a il ot e el as a isi le o je t so e thi g al ead - see , al ead - o situted ut also as a pe fo ai e a d o u i ai e a t of isio a o - seei g, a o - o situi g a i it that i pli ates a ie i g su je t a al a s-pe epi e a d al a s- o situi e e o lded li ed- od e gaged i the a t of sig if i g.
Thus, the il has to e u de stood ot as a te t, ut as a pe fo a e i the a that Da a Pola e isio ed i the id- s. D a i g o the spee h-a t theo he states that il s a e pe fo ai e . Thei ea i g does ´t o u as a atu al efe e e. It is i stead u de stood as a p o ess he ei dife e t o te ts i te a t a d a t upo the il i te t. Ge t ud Ko h spe iies this oio , a i g the t o appa atus that a e u ial fo the il i pe fo a e: that of the i e a a il a e a a d a p oje to , also a il theat e a d s ee i g o diio s , a d the pe epio appa atus of the spe tato . This app oa h its the a al sis of slo i e a, as it allo s fo a i o po aio of the ie e s od i the p o ess of pe epio . At the sa e i e it e ou ages the e a i aio of the a t o k as a st u tu ed e e t. The assu pio that il is a pe fo ai e e e t also spu s a look at slo i e a ot o l as ep ese taio , ut as a pu e at a io . As the il e a ples ill sho , this is ote the ase. I o de to lesh out the p i ipal te a ts of this p oje t, the oio of il as a pe fo a e ields a esse ial dis ussio hi h e ol es a ou d the u h- o tested issue of hethe the a isi te t o the o te t i this ase e o passi g the ie e as ell a e o e de isi e. The i lue ial e epio studies theo ist Ja et “taige poi ts to this topi i he ook Perverse Spectators: The Pracices of Fil Recepio , ii isi g the sta e she a d he olleagues Da id Bo d ell a d K isi Tho pso took o audie es i thei ate shed ook The Classical Holly ood Ci e a: Fil Style a d Mode of Producio to 96 . At the i e of ooks i epio – at the e d of the s - the e e all of the opi io textuality that dete i ed hat people did. That ea s that all the ea i gs a d efe ts a e ge e ated the te t. O e the ea s
143 Vivian Sobchack The Address of the Eye. A Phenomenology of Film Experience, Princeton, 1992, p. 56. 144 Dana Polan Film Theory Re-Assessed in Continuum: The Australian Journal of Media & Culture. Vol. 1 no 2 (1987), available at http://wwwmcc.murdoch.edu.au/ReadingRoom/1.2/Polan.html (Accessed 23.10.2013). 145 Robin Curtis How Do We Do Things With Films? Die Verortung der Erfahrung zwischen Wort und Fleisch in Sabine Nessel, Winfried Pauleit, Christine Rüffert, Karl-Heinz Schmid, Alfred Tews (eds.) Wort und Fleisch. Kino zwischen Text und Körper, Berlin, 2008, p. 75 – 90. 146 Ibid., p. 76 147 Janet Staiger Perverse Spectators: The Practices of Film Reception, New York, 2000, p. 29. I. Introducion - 2. Methodological Toolkit 29 ho e e , “taige has odiied he posiio a d a gues that o te t is o e sig ii a t tha te tual featu es i uildi g up i te p etaio s of il s. U de o te t she su su es ot o l the i te p etai e st ategies hose the ie e s, ut also the histo i al a kg ou d hi h has o st u ted the i di iduals. This posiio is losel o e ted ith the o ept of a il spe tato ho has u de go e a o side a le ha ge o e the ea s. As “taige a gues, all the lassi al i e ai te ts o k o a esse iall e epi e a d ideal spe tato , ut this app oa h is also a epted, fo e a ple, Bo d ell. As al ead e e pliied a o e, “taige ad a es the ie that the o te t is o e i po ta t tha the a ai e desig a d stagi g of the il . A d the o te t is the fa to hi h foste s the spe tato to ge e ate pe e se ea i gs . Ho e e , fo this p oje t s pu poses, a odiied o ept of the ie e is eeded.
. . Natural audie e of slo i e a
Ed Ta states that As e e od hooses the il s, hi h a e the est suited to hi , ea h il t pe has its o atu al ie e . It as al ead e io ed that slo i e a is a il fesi al default-st le. Taki g i to o side aio the o te po a st u tu e of the il a ket, it is i po ta t to highlight the s ee i g o diio s a d the a essi ilit of these il s. This leads us to the dei iio of the atu al audie e of these il s, hi h a e ai l s ee ed at il fesi als. O l a s all pa t of the e ei e i e ai dist i uio o o e out o DVD, ut the ight e ade a aila le o VoD plafo s. It is a spe ial i he of i e a ultu e that at a t il ii s, a t il lo e s a d othe e thusiasts looki g fo othe , o e eai e app oa hes to il a ai es a d il as a a t fo . This is uite a disi t audie e, a d fo s the opposite to the atu al i e a ie e , ho usuall hooses to at h ai st ea Holl ood p odu io s. The ate dees of il fesi als a d a t il i e as ha e a uli ated taste, de eloped o e the ea s a d th ough the ie i g e pe ie e. A e i a il ii “ ot Ma Da do ald e e a gues that all il s a e halle gi g fo ie e s. Thus, the ha e to lea thei ode of ope aio . This is the g ou ds fo his o ept of a ui ed taste – that ie e s de elop thei p efe e es o e the ea s. Fu the o e, Ed Ta has stated that ea h ie e k o s hat t pe of il s appeal to hi , a d akes a hoi e. It is also i po ta t to highlight the fa t that lo e of slo i e a is losel o e ted to the phe o e o of i ephilia. Ho e e , this g oup – a atu al audie e fo slo i e a - a ot e ha dled as a ho oge ous e it . As Ja et “taige fo ulates: [..] ea h spe tato is a o ple a d o t adi to o st u io of su h self-ide iies
148 Janet Staiger Perverse Spectators: The Practices of Film Reception, New York, 2000, p. 30. 149 Janet Staiger Interpreting Films: Studies in the Historical Reception of American Cinema, Princeton, 1992, p. 48. 150 Ibid., p. 51. 151 Ed S. Tan Emotion and the Structure of Narrative Film, Mahwah, 1996, p. 10 152 Quoted from James Peterson Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema, Detroit, 1994, p. 2. 153 Ed S. Tan Emotion and the Structure of Narrative Film, Mahwah, 1996, p. 10. I. Introducion - 2. Methodological Toolkit 30 as ge de , se ual p efe e e, lass, a e, a d eth i it . The pe i e e of ea h self- ide it ight at i es do i ate the othe s, pe haps o e dete i ate o o t adi t as ell. E e o e, ou pe so aliies i lue e the i te p etaio of the il i te t. Ja et “taige p ese ts the idea that e a ot speak a out a p efe ed ea i g i te p eted the audie e, e ause ea h ie e a ge e ate `pe e se` ea i gs hi h ha e ot ee i plied the autho s. The a gu e t he ei is that the a isi de i es used i slo i e a eadil i ite su h de ia t ea i gs. The G eek il ake Theo A gelopolous, o e of the i lue es fo slo i e a, follo s this li e of thought sa i g that the pauses, the dead i e, gi e [the spe tato ] the ha e ot o l to assess the il aio all , ut also to eate, o o plete, the dife e t ea i gs of the se ue e. “u el slo i e a audie es ha e to e a k o ledged as a i te p etai e o u it , ut e a ot p edi t thei o p ehe sio of slo a ai es, e ause e e ithi this li ited g oup e e ou te e dispa ate i te p etaio s of hat is sho o s ee . This p oje t s posiio is that this is o e ted to the a ai e desig of the plot, hi h has a lo deg ee of a ai it o eak a ai it . I a ase, fo slo i e a e ha e to a k o ledge the plu alit of possi le ea io s to il . Ho e e , as e io ed a o e, the pe spe i e of a Eu opea i ephile ill e de isi e fo the p ese t stud .
Pi tu i g the p o ess of il o p ehe sio i te s of li guisi p ag ai s is the ost useful app oa h fo this u de taki g as it takes i to a ou t the o te tual fa to s that i lue e ou u de sta di g of ute a es.
. . Rele a e theor a d i e a prag ai s
This stud does ot i te d to o st u t a full- lo theo of the o p ehe sio of slo il s, ut a detailed ie is eeded i o de to e a i e the a t st u tu es of the il s. ‘ele a e theo , as de eloped Deid e Wilso a d Da “pe e , i te s of og ii e p ag ai s a se e as a o p ehe sio heu isi s ofe i g a possi ilit of ho to deal ith the halle ges posed slo i e a a ai es.
Fi st of all, this theo jusiies h slo il s a e o th at hi g, a d fu the o e h e tai st u tu es a e dete ted i the . At the hea t of this theo lies the assu pio that a a t of aki g a ute a e i plies that hat is ei g a ou ed is o th liste i g to o u i ai e p i iple of ele a e . I the o te po a a t i e a a ket the il , efo e it is shot, has ee app o ed dife e t o issio s a d i a ial fu ds i
154 Janet Staiger Interpreting Films: Studies in the Historical Reception of American Cinema, Princeton, 1992, p. 13. 155 Ibid., p. 44. 156 Janet Staiger Perverse Spectators: The Practices of Film Reception, New York, 2000, p. 2. 157 Quoted in Tony Mitchell Animating Dead Space and Dead Time in Sight& Sound 50.1, 1980, p. 29-33. 158 Dan Sperber, Deidre Wilson Relevance: Communication and Cognition (2ed edition), Oxford, 1995, p. 260. I. Introducion - 2. Methodological Toolkit 31 the fo of a s ipt , a d thei app o al a e i te p eted as a sig al fo the audie e that this pa i ula p oje t as o th i a i g a d thus, as a il , it is o th to e p ese ted to audie es.
Wilso a d “pe e ´s theo also a k o ledges the su je i it of the ie e , e ause the state that the pa i ula ute a e is ade fo a pa i ula pe so at a pa i ula i e a d u de those pa i ula i u sta es. That leads to the o lusio that the ele a e is al a s su je i e, a d this is o e of the e t al assu pio s i thei theo . As e io ed, slo i e a is p e isel su h a p odu t ute a e - if e use the te i olog of Wilso a d “pe e ho de eloped thei thesis i espe t to li guisi s , ot ade fo i te aio al uliple i e a audie es, ut fo u h s alle i he g oups ho ate d il fesi als a oss the o ld. These audie es, taki g i to a ou t thei e pe ie e ith a t i e a, ha e dife e t e pe taio s to a ds a a t o k. ‘oge Odi , o e of the ost p o i e t theo ei ia s i the ield of i e a p ag ai s, e plai s it a i g the i situio al o st ai ts – the i situio al f a e o k i hi h e at h a il ill also deli it its i te ded ea i g. It is a e te al a d ate ial di e sio of the te i situio , a d it i ol es il fesi als, a t house i e as a d so o . But a i te al a d e talisi di e sio that e o passes ea h ie e ´s dis u si e o pete e also e ists, a featu e fo hi h this stud uses the te i e a edu ated ie e . Both these aspe ts of i situio s o t ol the a i hi h a e tai il ill e o p ehe ded. Thus, it o es as o su p ise that slo i e a has ee du ed the default il fesi al st le, as oth the o st u io of the il a d the ie i g o diio s a e losel li ked as ‘oge Odi has sho .
Wilso a d “pe e o i ue sa i g that:
A o di g to ele a e theo , ute a es aise e pe taio s of ele a e […], e ause the sea h fo ele a e is a asi featu e of hu a og iio .
“pe e /Wilso fu the e plai that, a o di g to the ele a e-theo ei du i g the o p ehe sio p o edu e ea h o u i ato ai s at f a i g he essage i su h a a that the add essee ill ha e to e pe d o o e efo t tha e essa to p o ess that essage. The i te p etaio of the ute a e has to e eas a essi le, a d this o diio alo e gi es the ute a e its i iial deg ee of plausi ilit .
Addiio all , e e ute a e has to eate a o te tual efe t fo the add essee – it has to
159 Charles Forceville Pictorial Metaphor in Advertising, London, 1998, p. 89. 160 Quoted in Warren Buckland The Cognitive Semiotics of Film, Cambridge, 2000, p. 97. 161 Warren Buckland The Cognitive Semiotics of Film, Cambridge, 2000, p. 97. 162 For a broader description of institution see Roger Odin For a Semio-Pragmatics of Film in Robert Stam & Toby Miller (eds.) Film and Theory. An Anthology, Malden, 2000, p. 57-59. 163 Deidre Wilson, Dan Sperber Relevance theory in Laurence R. Horn & Gregory Ward (eds.) Handbook of Pragmatics, Oxford, 2004, available at http://www.dan.sperber.fr/?p=93 (Accessed 14.07.2013). 164 Charles Forceville Pictorial Metaphor in Advertising, London, 1998, p. 88. 165 Deidre Wilson, Dan Sperber Relevance theory in Laurence R. Horn & Gregory Ward (eds.) Handbook of Pragmatics, Oxford, 2004, available at http://www.dan.sperber.fr/?p=93 (Accessed 14.07.2013). I. Introducion - 2. Methodological Toolkit 32 elate to the i fo aio al ead o tai ed hi .
The ii al eak ess of the ele a e theo is thei thesis that o l those i fe e es that ge e ate opi al o te tual efe t a d ask o l fo i i al o ade uate p o essi g efo t ill e p o essed. If the efo t eeded f o the add essee to p o ess a essage is too g eat, the the o u i aio p o ess ill eak do . “ e “t ase o e tl e a ks that i the ase of poet , ut also othe lite al te ts, the efo t eeded fo p o essi g a essage is o pa a l highe tha fo a e e da essage. But the eade s of su h o ple te ts a e a p io i ead to i est i the p o essi g, e ause the k o f o thei e pe ie e that the efo t ill e e a ded ith a espe iall high gai . We a ot auto ai all assu e though, that ea h eade ill e ead to i est o e i p o essi g a i fe e e. O iousl , it depe ds o the og ii e e i o e t of the add essee as to hethe he ag ees to su h a efo t. Na el , people like p ofesso s of lite atu e, fo ho lite atu e pla s a e sig ii a t ole i thei li es, ill e o e ead fo su h a p o edu e tha othe s. The uesio of i eased de a d eeded i o de to u de sta d a a t o k has to e add essed i o e io to the a al sis of slo i e a, e ause these il s a e ot easil digesi le. “t ase he e oa hes a uesio of a p efe a le g oup fo the use of e tai o ks of a t. The p e ious su hapte dei ed i e a edu ated il fesi al isito s as su h a g oup.
He e the stud ould like to follo a othe li e of thought f o “t ase , ho, i speaki g of poei te ts a d p ag ai s highlights the oio of eak i pli atu es, as de eloped “pe e a d Wilso . Whe eas i the ase of st o g i pli atu es these a e a ked up the speake , eak i pli atu es a e ge e ated o l the liste e . The g eate the a ge of possi le i te p etaio s of a essage, the eake the i pli atu es a d the o e the add essee has to take o the espo si ilit fo de i i g the . I the ase of eak i pli atu es, the add essee a ot e su e, hethe it the i te p etaio the add essee akes as i te ded the se de as su h. Lite a s hola Ad ia Pilki gto poi ts out that I di idual eade s ill ot a ess all the sa e i pli atu es o the sa e u e of i pli atu es. Thus, i the ase of lite a te ts o a t o ks i ge e al , e a e ou te u e ous i te p etaio s of the sa e o k. It is a u h o tested issue hethe e a speak a out a p efe ed i te p etaio of a a t o k ithi a pa i ula so ial g oup. “t ase a gues that ithi a spe ii g oup of
166 Warren Buckland Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic Narration in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History, Vol.2, Muenster, 1995, p.57. 167 Ibid., p.57. 168 Sven Strasen Wie Erzählungen bedeuten: Pragmatische Narratologie in Ansgar Nünning & Vera Nünning (eds.) Neue Ansätze in der Erzähltheorie, Trier, 2002, p. 212. 169 Dan Sperber, Deidre Wilson Relevance. Communication and Cognition. 2ed edition, Oxford, 1995, p. 199. 170 Sven Strasen Wie Erzählungen bedeuten: Pragmatische Narratologie in Ansgar Nünning & Vera Nünning (eds.) Neue Ansätze in der Erzähltheorie, Trier, 2002, p. 213. 171 Adrian Pilkington Poetic Effects: A Relevance Theory Perspective in Roger D. Sell (ed.) Literary Pragmatics, London, 1991, pp. 59-60. I. Introducion - 2. Methodological Toolkit 33 add essees e ill e ou te o e o less the sa e p efe ed i te p etaio , he eas the p o i e t il s hola Ja et “taige states that this issue has to e app oa hed i a o e detailed fashio .
Co i g a k to the p i iples of ele a e theo , this stud ished to highlight “pe e a d Wilso s o i io that, i o de to e u de stood, e e ute a e has to eate a o te tual efe t. K o i g that the logi al fo of a ai e il is i o plete a d ust e o pleted the ie e , this stud sha es the opi io of B iish il s hola Wa e Bu kla d that the o ept of o -de o st ai e i fe e es is de isi e fo the a al sis of a il . “pe e a d Wilso dei e su h i fe e es as:
… o -de o st ai e i fe e e, as spo ta eousl pe fo ed hu a s, ight e less logi al p o ess tha a fo of suita l o st u ted guess o k. If so, it should e see as su essful o u su essful, ei ie t o i ei ie t, athe tha logi all alid o i alid.
Thus, he applied to i e ai o p ehe sio , o te tual efe ts a e o e i po ta t tha just the isual o te t of the il fo eai g ea i g out of the il s i age . This stud s o te io is that slo i e a, u h o e tha ai st ea il , elies o this st ateg .
Fi all , t o o je io s ha e to e lea ed. Fi st of all, ele a e theo is a o u i aio theo that fo uses o e e da fa e-to-fa e ute a es. Ca it also e plai the e ha ges e e pe ie e i ou e ou te s ith a a t o k? Dei d e Wilso add esses this uesio i a a i le, Rele a ce a d the i terpretaio of literary ork, a gui g that to i fe the ideas the a ist a ts to o u i ate, the liste e / eade / ie e sill uses the sa e asi og ii e a d o u i ai e a iliies applied i o di a situaio s. Mo eo e , “pe e & Wilso disi guish et ee t o dife e t le els at hi h the autho pe fo s a ts of o u i aio . O a lo e le el, he des i es a i io al o ld, ut o a highe le el he is sho i g this o ld to the eade as a e a ple of hat is possi le, o o ei a le. Thus, the e pe taio s of ele a e o the lo e le el a e to so alled i te al e pe taio s, ut o the highe le el fo the e te al p esu pio of ele a e.
172 Sven Strasen Wie Erzählungen bedeuten: Pragmatische Narratologie in Ansgar Nünning & Vera Nünning (eds.) Neue Ansätze in der Erzähltheorie, Trier, 2002, p. 210. 173 Jürgen E. Müller Towards a Pragmatics of the Audiovisual II – or the Continuation of an Introduction in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History Vol.2, Muenster, 1995, p. 8-9. 174 Warren Buckland Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic Narration in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History, Vol.2, Muenster, 1995, p. 55. 175 Dan Sperber, Deidre Wilson Relevance. Communication and Cognitio, 2ed edition, Oxford, 1995, p. 69. 176 Warren Buckland Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic Narration in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History, Vol.2, Muenster, 1995, p. 55. 177 Deirdre Wilson Relevance and the interpretation of literary works in Ye Tian (ed.) Working Papers in Linguistics, Vol. 23, 2011, London´s Global University, available at http://www.ucl.ac.uk/psychlangsci/research/ linguistics/publications/wpl/11papers/Wilson2011 (Accessed 20.05.2014). 178 Ibid. I. Introducion - 2. Methodological Toolkit 34 “e o dl , deali g ith the i fe i g of ute a es the se de a ted to o u i ate poses a p o le of the so- alled i te io al falla . This issue fo s a u h dis ussed p o le i lite a ii is si e at least , he W.K. Whi sat a d M.C. B eadle pu lished thei a i le The I te io al Fallacy. The lai ed that the ea i g of the o k itself a e fou d e a i i g the ea i g of the o ds that o situte it a d the s ta of the o k. Lite a theo ists, suppo i g the i te io alist st a d, a gue that the a ist s i te io is ele a t to the ea i g of the a t o k. A o di g to Di kie a d Wilso , the a i-i situio alist sta e ea s that the o k is see as stai . Ho e e , this stud ill ega d the e ou te et ee a a t o k a d the audie e as a p o ess of o u i aio a d the efo e the a gu e t ought up Noél Ca oll is useful he e. He asse ts that the o u i ai e aspe t of a t is a esse ial pa t i the a t of e pe ie i g it. His poi t of depa tu e is the asse io that the p o ess of e pe ie i g a t is si ila to that of ou e e da o e saio , he e ou ai ai is to i fe hat the speake i te ded to sa . Fo that easo , the k o ledge of the a tual i te io s of the a ist is ele a t fo the de elop e t of a i te p etaio .
At this the p oje t ill a stai f o deli e i g a dei ite a s e a out hi h posiio ould e the ight o e. I stead, du i g the a al sis of slo i e a the issue of autho ial i te io s a d thei o i a ilit a a ui e a e fa et.
. . Breakdo i o u i aio
As e io ed, the p i iple of ele a e assu es that it is utuall i po ta t fo oth the se de a d add essee to fo a ute a e that ill eate the opi al o te tual efe t ith o l a s all a ou t of p o essi g efo t eeded i il studies, the te the e o o of a ai e is used fo this . Fo the add essee it is e uall i po ta t to fo the i fe e e that o espo ds to the se de ´s essage. Wa e Bu kla d e plai s that:
Fo p ag aists, eakdo s i o u i aio a e to e e pe ted e ause essages o assu pio s o u i ated f o se de to add essee a e ot e edded i the logi al fo of a ute a e, ut ust e ge e ated, i a o da e to the p i iple of ele a e, the add essee o the asis of the ute a e´s i o plete logi al fo .
All this leads this stud to the ge e al poi t of depa tu e of the ele a e theo , hi h o pletel dife s f o the t adiio al ode odel. Na el , the late suggests that the
179 Georgie Dickie, W. Kent Wilson The Intentional Fallacy: Defending Beardsley in The Journal of Aesthetics and Art Criticism. Vol. 53, No. 3, 1995, p. 233. 180 Ibid., p. 234. 181 Ibid., p. 234. 182 Georgie Dickie, W. Kent Wilson The Intentional Fallacy: Defending Beardsley, The Journal of Aesthetics and Art Criticism, Vol. 53, No. 3, 1995, p. 245. 183 Noél Carroll Beyond Aesthetics: Philosophical Essays, Cambridge, 2001, p. 196-197. 184 Warren Buckland Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic Narration in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History, Vol.2, Muenster, 1995, p. 63. 185 Ibid., p. 57-58. 186 Ibid., p. 58. I. Introducion - 2. Methodological Toolkit 35 essage is oded the se de a d the e ei e de odes it usi g the sa e ode. Fo i e a, Bo d ell a gues, the ode odel is o pletel u feasi le e ause e a ot thi k of il ie i g as a p o ess he e a e tai essage is passed f o the il ake to the ie e . I stead, he ega ds the p o ess of e pe ie i g il as o e ge t i fe e e aki g, he e the il ake desig s the il i a a that ields e tai ea io s f o the ie e a d these a e o e o less fo esee the il ake i fe e ial ela o aio .
The odel o hi h “pe e /Wilso uild upo adhe es to the thesis that i the o u i aio p o ess the se de p o ides e ide e of he i te sio to o e a e tai ea i g a d, i doi g so, the se de ´s ute a e [..] odiies the og ii e e i o e t of the add essee. O the g ou ds of these ha ges the add essee o st u ts the ea i g of the essage the se de ishes to o u i ate. I fu the uildi g o this e odel, ‘oge Odi o ludes that the p odu io of a te t is a t ofold p o ess. The i st pa t takes pla e du i g the p odu io of the te t, ut the se o d du i g its eadi g a d e epio . The o e dete i aio s oth sha e, the o e oth te ts ese le ea h othe .
This fa t leads Wa e Bu kla d to o lude, uite d a ai all , that the p ag ai theo of ea i g also e tails the failu e i the o u i aio . As he ightl e a ks, i the ase of p ag ai s the ea i g is ot i ed i ad a e. I stead, it is ge e ated i the o e t he the ute a e is ei g ade i a ious o te ts. This poi t has to e o e i i d fo the a al sis of slo i e a, e ause, as this stud ill a gue, ot all de elop e ts i slo i e a a ai es displa lea - ut a ai it , a d thus supple e ta ea i g is ot lo ked of. Co se ue tl , the p efe ed ea i g is ot al a s eas to g asp. Thus the failu e i the o u i aio p o ess a e e e o e a o .
If e etu to Da id Bo d ell s state e ts as des i ed a o e, it is o ious that ai st ea il follo s the p i iples of ele a e. But i slo i e a e e ou te a situaio he e the ie e , seeki g the ost plausi le i te p etaio of the o s ee e e ts, a ot al a s use the sho test a d easiest a i dis o e i g the ele a e of a e e t fo fu the plot de elop e t. Co u i aio a e e eak do as fo esee “pe e /Wilso a d st essed Odi . This p oje t s posiio is that it is spe ii all f o this situaio that opi io s of slo i e a, su h as those i the u h-dis ussed Da Kois a i le Eai g Your Cultural
187 Deidre Wilson, Dan Sperber Relevance Theory in Laurence R. Horn & Gregory Ward (eds.) Handbook of Pragmatics, Oxford, 2004, available at http://www.dan.sperber.fr/?p=93 (Accessed 14.07.2013). 188 David Bordwell Three dimensions of ilm narrative in David Bordwell Poetics of Cinema, New York, 2008, p. 124. 189 Warren Buckland Relevance and Cognition: Towards a Pragmatics of Unreliable Film in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History, Vol.2, Muenster, 1995, p. 56. 190 Ibid., p. 56. 191 Roger Odin Kunst und Ästhetik bei Film und Fernsehen. Elemente zu einem semio-pragmatischen Ansatz. Montage AV, 11/2/2002 p. 42. 192 Warren Buckland The Cognitive Semiotics of Film, Cambridge, 2000, p. 80-81. 193 Ibid., p. 81. I. Introducion - 2. Methodological Toolkit 36 Vegetables 94 in The Ne York Ti es, a ise. This a i le ki ked of a dis ussio o hethe a le gth il that is ha d to at h is al a s o e alua le tha a easil digesi le Holl ood a io il . A e ie of the hole dis ussio ould dig ess f o the su je t at ha d, ut the aspe t of o edo , hi h has i e ita l ee asso iated ith slo il s as ell as its p ede esso s su h as A to io i o Ta ko sk , ill e tou hed upo . ‘oge Odi , ith his se io- p ag ai app oa h to il , oa hed this issue o a theo ei le el. He states that the o edo o displeasu e felt a ie e a ises f o false e pe taio s – it is a sa io p o ou ed this i situio agai st a il that lo ks the p o ess of ise-e -phase . Ho e e , o e a suppose that i slo i e a e a ot assu e o edo as a sa io – pu ish e t fo ot ei g a le o ead to i est the efo t e ui ed to u de sta d a idios ai a ai e. Bo edo hile e pe ie i g these il s is a odil efe t, a d o e of the pu poses of the il ake s as to a hie e it. Da id Bo d ell a k o ledges i e a d agai that:
il di e to s a e e elle t p a i al ps hologists, e ploii g ot o l ou a iliies to pe ei e a d o p ehe d a d i fe ut also ou dei ie ies – all fo the sake of guidi g us to ha e the so t of e pe ie e the ai to ge e ate.
I the ase of slo i e a, o edo a e, a o gst othe s, o e of these possi le efe ts. Ho e e , this stud s posiio is to st o gl st ess that o t a to Bo d ell, i slo i e a the uesio e ai s hethe all the efe ts a il ge e ates i the ie e ha e ee fo esee the il ake .
I the ase of slo i e a, e do ha e to take i to a ou t that o u i aio a ot e des i ed o l usi g eithe Bo d ell s e sio it is su essful , o Odi s idea a out the eakdo of o u i aio . I slo i e a a ua ed possi iliies o e to the fo e.
As Ed a d B a iga ightl e a ks, the a aio of the sto ust also block othe possi le o i aio s fo i te p ei g a pa i ula essage. Wilso a d “pe e do ot o side that a a ge of ea i gs a e possi le, ho e e , slo i e a e ou ages de ia t i te p etaio s. The p i e easo e ol es a ou d the fa t that, i o pa iso to ai st ea il , slo i e a di e to s do ot p o ide the audie e ith oste si e si uli that ould e as eas fo the ie e s to u de sta d.
194 Dan Kois Eating Your Cultural Vegetables in The New York Times, 29.04.2011, available at http://www. nytimes.com/2011/05/01/magazine/mag-01Riff-t.html?pagewanted=all&_r=0 (Accessed 12.06.2011). 195 For the deinition of ‘mise-en-phase’ as understood by Odin see Buckland The Cognitive Semiotics of Film, Cambridge, 2000, p. 94-95. 196 Roger Odin For a Semio-Pragmatics of Film in Robert Stam & Toby Miller (eds.) Film and Theory. An Anthology, Malden, 2000, p. 61. 197 David Bordwell Neo-Structuralist Narratology and the Functions of Filmic Storytelling in Marie-Laure Ryan (ed.) Narrative across Media, Lincoln, 2004, p. 216. 198 Edward Branigan Towards a Pragmatics of Narrative in Jürgen Müller (Ed.) Towards a Pragmatics of the Audiovisual. Vol. 2, Muenster, 1995, p. 54. 199 Deidre Wilson, Dan Sperber Relevance theory in Laurence R. Horn & Gregory Ward (eds.) Handbook of Pragmatics, Oxford, 2004, available at http://www.dan.sperber.fr/?p=93 (Accessed 14.07.2013). I. Introducion - 2. Methodological Toolkit 37 . . E oio al respo se
Fi all , o e sho t o i g of the ele a e theo has to e u de li ed, a el , that “pe e / Wilso do ot take i to a ou t the afe i e espo se of the spe tato . Bu kla d e p esses the opi io that i doi g so the o fo to the falla do i a t i og ii e s ie e, philosoph , a d li guisi s, that hu a ei gs a e pu el aio al o u i ato s, i te ested o l i the ei ie a d p odu i it of i fo aio p o essi g.
Mo e a d o e esea he s of og iio a k o ledge the ole of e oio s i the p o ess of o p ehe sio . Ca l Pla i ga a d G eg M. “ ith, i thei o-edited ilesto e olu e Passio ate Vie s: Fil , Cog iio , a d E oio , e phasize this p e isel - the di isio et ee i d a d ai o o i og ii e ps holog u il e e tl , tu ed out to e the o g di e io . Neu ops hologi al esea h has sho that the e a e o ple elaio ships et ee odil states a d thought p o esses. Thus, il studies too ha e to a k o ledge the i po ta e of e oio s i st u tu i g the il ie i g e pe ie e. E e o e, oth autho s lai that e oio a d og iio a e ot e essa e e ies. A og ii e u de sta di g of e oio s asse ts e a tl the opposite: that e oio s a d og iio s te d to o k togethe .
This thesis is ot i te ded as a ua ed t eaise of slo i e a f o the pe spe i e of e oio al esea h. Ho e e , si e app oa hes de i ed f o o epts u ii g og iio a d e oio see to e pa i ula l useful i gai i g a ess to these pe ulia o ks of a t, the hapte a out the il Blissfully Yours ill e dedi ated to it.
At this stage it should e oted that o edo , o e of the efe ts ge e ated slo il s, a e added to the list of e oio al efe ts, su h as suspe se, u iosit , su p ise a d e path .
The i al pa t of this hapte i t odu es the il e a ples hose to illust ate so e of the possi iliies ie e s ha e at thei disposal i o de fo a s ee i g of a slo il to e o e a su essful e pe ie e. Addiio all , alte ai es fo he a s ee i g esults i a alkout a e sket hed.
. . Choi e of il e a ples
As outli ed a o e, this stud ai s to take a fu io al app oa h i o de to odel the a iet of e gage e ts the audie e u de takes to ake se se out of a slo il , a d the efo e
200 Warren Buckland Relevance and Cognition: Towards a Pragmatics of Unreliable Filmic Narration in Jürgen E. Müller (ed.) Towards a Pragmatics of the Audiovisual. Theory and History, Vol.2, Muenster, 1995, pp. 65-66. 201 Charles Forceville Relevanz und Prägnanz: Kunst als Kommunikation in Zeitschrift für Semiotik, Vol. 31, No. 1-2, 2009, p. 52. 202 Carl Plantinga & Greg M. Smith Introduction in Carl Plantinga & Greg M. Smith (eds.) Passionate Views: Film, Cognition, and Emotion, Baltimore, 1999, p. 2. 203 Ibid., p. 2. 204 Jens Eder Narratology and Cognitive Reception Theories in Tom Kindt & Hans-Harald Müller What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 290. I. Introducion - 2. Methodological Toolkit 38 p oposes that the e a e se e al possi le odes that a fu io o u e tl . A al sis of all the ase studies he ei sta t ith a des ipio of the il , efo e dis ussi g su h o e issues f o a atolog as deg ee of a ai it , tella ilit , a d the o st u io of the fou -a t- s he e. I due ou se the efe ts of the o e issues o the ie e a e e plai ed, usi g su h oio s f o og ii e esea h a d p ag ai s as o te t, e oio s, oods, e pe taio s, i e sio , suspe se a d i te est.
I ill egi a al sis ith the il Goodbye, Dragon Inn Tsai Mi g-Lia g. With its passi e ha a te s a d lo g shots he e othi g happe s , this il ep ese ts a a e age slo il . Thus, it is a good sta i g poi t fo the a al sis. Goodbye, Dragon Inn se es as a e a ple fo the lai that depe di g o hethe the ie e has had a ess to o te tual k o ledge su h as Tai a ese i e a histo a d the il ake s sig atu e featu es, he ill de elop dife e t i te p etaio s of the sto . Liverpool Lisa d o Alo so is al ead a e t e e e a ple, e ause it ep ese ts the i i al st ai of slo i e a i te s of its a ai e desig . Ho e e , as the sto as su h has a high tella ilit fa to , the esult is that Liverpool o sta tl f ust ates ie e e pe taio s. This su hapte ill o lude ith thoughts o the uesio What do pictures want?, e ause it oa hes the issue of ho ie e s a deal ith su h disi t ha a te isi s as post-a io lags a d e te si e du aio al shots, hi h a appea o i ed. The il s The Turin Horse Béla Ta a d Fallen F ed Kele e a e ou te e a ples. Both ep ese t the so- alled pa a et i a ai e, hi h is o e of the tags used fo slo il s, ut hile The Turin Horse is a p i e e a ple,Fallen a e ega ded as eak. As ill e e plai ed, a dife e iaio of this ki d a e ade if e o side ot o l the stagi g of the il ith hi h the pa a et i it is e plai ed , ut also the deg ee of a ai it i ea h of the e a ples. Blissfully Yours Api hatpo g Wee asathakul e e pliies De Lu a s thesis that the e is a e tai te de to a ds se sual a aio i o te po a i e a. This su hapte ill add ess the issue of the ole of e oio s a d odil ea io s i the st u tu i g of the i e ai e pe ie e. Ho e e , as Blissfully Yours is ot ep ese tai e of lassi ai st ea i e a, t adiio al app oa hes used to a al se e oio s i i e a a ot e applied he e. Thus, fo us ill e o the ood- ue app oa h de eloped G eg M. “ ith. Fu the o , the stud ill tou h upo su h aspe ts asimmersion i to the i age a d i to the sto , a d uesio ho this te has to e odiied i o de to suit slo i e a. A si ila efo ulaio is eeded fo the term suspense, hi h pla s a pa t i a il - if looked at i te s of the ie e s i te est i i di g out hat happe s e t? The i al e a ple, Colossal Youth Ped o Costa, lies at the fa e d of the hose e a ple spe t u . It is ost e t e e i te s of a ai e o st u io a d thus poses a t e e dous halle ge fo the ie e . This su hapte ill look fo a a s e to h the edia e a ed I. Introducion - 2. Methodological Toolkit 39 the il Colossal Bore, a d h the s ee i gs i Ca es esulted i alkouts. This stud ill a gue that the eakdo i o u i aio et ee the il a d its audie e a ha e ee aused the lo le el of tella ilit of o s ee e e ts, as ell as the lo le el of a ai it . Co i ed ith issi g o te t assu pio s, the esult is a il o sisi g of f ag e ts he e the ause-a d-efe t hai , hi h i slo i e a i ge e al is uite loose, is su situted a se ies of e e ts ith o ausal li ks. The ase studies hose o e f o dife e t ou t ies, dife e t il ultu es, a d a e ooted i dife e t ultu al o te ts. Ho e e , this p oje t does ot d ell o the ultu al dife e es; i stead the fo us is o a ai e st u tu es that a e oss- ultu al a d u i e sal. . . A pra i al side ote Co t a to thei Holl ood ou te pa ts slo il s a e i tuall u k o , the efo e fo the pu pose of a al sis it is e essa to i iiall des i e the s e e s e e. The p i ipal o e ill e a lose eadi g of a ai e a al sis, ot the st lisi s. The st lisi s of the il ill e looked at he the isual desig a ui es a a ai e fu io . O , he a s e e s isual desig a e des i ed as a a ai e e e t.
A d i all , the des ipio of the e e ts taki g pla e o s ee ill e depi ted i te s of the autho s i p essio s a d o p ehe sio , as opposed to the s ipt. Ho e e , this also i plies that the des ipio s a ot e held to o plete ess a d o e t ess e ause of a eo u i g la k of la it of the e e ts o s ee . This happe ed, fo e a ple, due the da k ess of the i ages o due to la ki g k o ledge i ultu al a kg ou d that ould e a le a ete u de sta di g. Thus, the e a e uesio s aised o the des ipio s of the il s st u tu e, a d su h a app oa h u s ou te to the t adiio of a all-sa il s hola . Ho e e , fo the pu pose of this p oje t a i o plete u de sta di g of a il is esse ial, as it po t a s a a tual i e a e pe ie e o e a u atel .
This app oa h e e pliies the ge e al p o le e e esea he fa es he t i g to odel ea io s of a tual il ie e s. I te s of p o le -sol i g theo the e a e th ee possi le app oa hes. The a i izi g st ategies a e fo ell-fo ed p o le s ieldi g lea - ut soluio s ega dless of ost. The saisf i g st ategies use o l i i al p o le -sol i g efo t a d te d to p odu e o l o e saisf i g soluio . Opi izi g st ategies a e ot o te t ith i i al ohe e e a d t to i d the est a aila le alte ai e. Ho e e , that i plies a g eate efo t is eeded i o de to i d a soluio . I te esi gl , as Pete so e a ks, u like the a i ize , the opi ize a de ide at a e tai poi t that addiio al efo t ill ot pa of a d e ds the sea h fo ohe e e.
Ja es Pete so , i speaki g a out a a t-ga de i e a, supposes that ost ie e s a d il
205 James Peterson Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema, Detroit, 1994, p. 21-22. I. Introducion - 2. Methodological Toolkit 40 ii s of the a a t-ga de a e opi ize s ho a e ot saisied ith esta lishi g i i al ohe e e. Pete so also akes the i po ta t o se aio that, although a a t-ga de i e a does ot ep ese t a ell-fo ed p o le a p o le ith o l o e possi le soluio , a i izi g st ategies ould ot e a suita le app oa h to these il s. Although ot e e detail a e e plai ed i e pe i e tal i e a a d ot all ele e ts of the o k a a ui e ohe e e, ii s a d a ade i s a sill e illi g to pu sue it. P a i all though, dedi ated ii s a e opi ize s, e ause e e if a ast a ou t of i fo aio a out a pa i ula il has ee olle ted, o l a li ited a ou t a e used i ii g a out it.
A a t-ga de il ie e s p o eed dife e tl . The a e, ithout dou t, opi ize s hose goal is to esta lish as u h ohe e e as the a o the asis of li ited ie i g of the il , thei k o ledge of the o k of the il ake at ha d, a d thei k o ledge of the histo of the a a t-ga de i e a.
Although Pete so is speaki g of the a a t-ga de, hi h a ot e o pa ed to slo i e a although the hapte o the ge esis of slo i e a ill de o st ate the i lue es of the a a t-ga de o slo i e a , his e pla aio s of il ie e s as opi ize s o k fo slo i e a as ell. As the e a e ote se e al possi iliies as to ho e e ts de elopi g o s ee a e e pe ie ed, the oio of a ell-st u tu ed p o le a ot e atested to these il s. I ase of slo i e a ho e e , this p oje t does ot ega d og ii e i te p etaio as the o l a of o i g to te s ith these a t o ks. This is o e of p e ises upo hi h the a gu e t i the follo i g pages is uilt.
206 James Peterson Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema, Detroit, 1994, p. 22. 207 Ibid., p. 22. 208 Ibid., p. 22. II. Case Studies - 1. Goodbye, Dragon Inn 41 II. Case studies
1 . Goodbye, Dragon Inn (dir. Tsai Ming-Ling, Taiwan, 2003) - with or without contextual knowledge?
As al ead e io ed, Tsai Mi g-Lia g is o e of the ost p o i e t ep ese tai es of slo i e a – his a e is i e ita l fou d o ea h of the a ious lists of slo i e a il ake s. Ho e e , he is o e k o as o e of the ep ese tai es of the “e o d Ne Wa e of Tai a ese i e a alo g ith Ed a d Ya g a d Hou Hsiou-Hsie .209
His o e all app oa h to the a ai e o ga izaio of the il Goodbye, Dragon Inn a e su su ed u de the thesis that he pla s ith the ie e s e pe taio s a out hat a e assessed as ele a t fo the u de sta di g of the sto , a d the atesi g of ele a e is losel o e ted to the ie e s ultu al a kg ou d.
1.1 Ci e a a d des ripio – a pro le ai issue
As ea h s e e of the il Goodbye, Dragon Inn ostl o sists of o e take, it see s useful fo the a al sis to set out hat is happe i g i ea h shot of the il . Fu the o e, the des ipio of the il s st u tu e is su a ized follo i g the a t s he e of K isi Tho pso . The e pla aio s fo the di isio of the plot i to a ts ill e deli e ed i due ou se.
Ho e e , he e e al ead a i e at the p o le of the des ipio of su h a du aio al il . Na el , i t i g to des i e hat is happe i g i the shot, a ie e is al ead looki g fo ause-a d-efe t hai s a d seeki g oi aio fo the a io s taki g pla e. O , as a o di g to Tz eta Todo o [..] to des i e is to t to o tai , o the asis of e tai theo ei al p e ises, a aio alized ep ese taio of the o je t of stud .210
I ii g a se te e to su su e the a io of the s e e, o e a ot do jusi e to the ho e i g a aio . O e a state ho lo g a shot takes, ut it falls sho t i e p essi g the e hausi g du aio of se e al e lo g shots. The a e a o deal fo the audie e, ut this o deal a ot e e pe ie ed he ite do o the pape ; it so ei es takes just i e o ds to su a ize a s e e that lasts fo th ee i utes. This is a uesio of a p ope ediu fo depi i g so ethi g. Ci e a is a i e- ased a t, espe iall slo i e a ith the a e a po t a i g the eal du aio of a e e t o a i it ith al ost o use of ellipi al edii g. I a ase, this is a e a ple of Ma shall M Luha s the ediu is the essage , hi h
�� ���� ���������� ��� ���� �� 1��� �� ��������� ��� �� ���������� �� ������ �������� �� 1��� �� ����� �� the Chinese Culture University. He made his irst full-length feature ilm in 1992 – Rebels of the Neon God. �� c��� ����� Goodbye, Dragon Inn belongs to the mid-part of his career, having been shot in 2003 after his internationally wildly acknowledged ilms Vive L´Amour �1��4� G����� ���� �� V���c� F��� F����v���� The River (1997, Silver Bear at Berlin Film festival), The Hole �1��8� FIPRESCI�P��z� �� C����� F��� F����v��� ��� What Time Is It There? ���1�. 1� �zv���� ������v Littérature et signiication� 1�6�� �.�� q����� �� S������ C������ Story and Discourse: Narrative Structure in Fiction and Film� I���c�� 1��8� �. 1�. II. Case Studies - 1. Goodbye, Dragon Inn 4 i pli ates the ediu as also shapi g the o te t of the essage.211
But this p o le a also e app oa hed f o a othe di e io . Na el , ii g do the e e ts that happe i the il i sto fo , tu s e e thi g i to a des ipio . A des ipio is ge e all o side ed as o e of the o - a ai e ele e ts of a lite a te t. Ho e e , i a te t, a ai e a d o - a ai e ele e ts a e usuall i ed.212 As the a atologist V a hesla Ye se e a gues, o pa i g te ts that i lude a lot of su h o - a ai e ele e ts as des ipio s ith those that i lude a lot of a io p o ide ea s fo easu i g the deg ee of the a ai it of a pa i ula te t.213 Apa t f o the fa t that this app oa h is e disputa le as ii ized Ma ie-Lau e ‘ a ,214 “e ou Chat a a gues that des ipio is i possi le i a ai e il s e ause the sto -i e the du aio of the e e ts of the a ai e o i ues as lo g as the il is p oje ted o the s ee .215 Chat a has de oted a hole hapte i his ook Co i g to Ter s: The Rhetori of Narrai e i Fi io a d Fil to the p o le of des ipio i i e a. He li ks the oio of des ipio i this a t ith the situaio s he ei the sto i e has ee suspe ded, a d thus a a ai e pause is ge e ated.216 He e io s dife e t e a ples of des ipio i i e a, de i i g ost of the f o the il s of Mi hela gelo A to io i. Ho e e , this stud a gues that i the ase of slo i e a e e ou te a othe e a ple of i e ai des ipio . We a suppose that a lot of s e es i slo i e a that aptu e a u da e a i it i its full du aio , like a ha a te depa i g th ough a o ido , a e la elled as des ipio . I these s e es the sto i e sill goes o , ut the a i it as su h has su h a lo le el of a ai it that fo the ie e looki g fo fu the sto de elop e ts, these st et hed a i iies a see useless.
‘etu i g to the uesio of des ipio , o e i al e a k has to e ade - a el , the fa t that ea h ge e appea s to p efe dife e t a ai e ele e ts. Thus, he eas th ille s a d dete i e sto ies de a d a io a d ha ges of state, i t aged , se i e tal o a e a d o edies of e o s e tal ep ese taio s217 of the ha a te s a e de isi e.218
The i li aio is to thi k that i slo i e a a ai es he e o e ts of st o g a ai it a e i ed ith le gth st et hes of des ipio s fo hi h the eak a ai it is de isi e, e
11 C������ F��c�v���� Non-verbal and multimodal metaphor in a cognitivist framework: Agendas for R�����c� �� G���� K����������� ��c��� Ac����� R��é D��v�� ��� F���c��c� R��z �� �����z� I�àñ�z ����.� Cognitive Linguistics: Current Applications and Future Perspectives, Berlin, 2006, p. 379 – 402, available at htp://da e. u a. l/do u e t/ (Accessed 02.10.2013). 1 V��c�����v Y�v����v Measuring Narrativity in Literary Texts �� J�� C�������� �������� ��� K���� ��� W������ Sc������ ����.� Narratology beyond Literary Criticism. Mediality, Disciplinarity� B������ ���� �. 1��. 213Ibid.,Ibid., p. 109. 14 ����������� R��� On theoretical Foundations of Transmedial Narratology �� J�� C�������� ������� ���.� Narratology beyond Literary Criticism. Mediality, Disciplinarity� B������ ���� �. 6. 1� S������ C������ Story and Discourse: Narrative Structure in Fiction and Film� I���c�� 1��8� �. �4. 16 S������ C������ Coming to Terms: The Rhetoric of Narrative in Fiction and Film� I���c�� 1���� �. 4. 217 For the concept of mental representation in cognitive science see Pitt, David, Mental Representation �� E����� N. Z���� ���.� The “ta fo d E lopedia of Philosoph (Fall 2013 Edition), available at htp://plato. sta fo d.edu/a hi es/fall /e t ies/ e tal- ep ese taio / �Acc����� .��.�14�. 18 ����������� R��� Avatars of Story� ������������ ���� �. 1�. II. Case Studies - 1. Goodbye, Dragon Inn 43 a use the o se aio of Ja es Phela , ho p oposes h id a ai it i the ase of so e te ts.219
The o se ue es this a ha e fo the deg ee of a ai it i these sto ies ill e dis ussed late o .
1.2 Comprehension process according to the Relevance theory
A o di g to Wilso a d “pe e , autho s of the ‘ele a e Theo , the o p ehe sio p o ess e o passes the follo i g p o edu es: the uildi g of e pli atu es ia de odi g, disa iguaio , efe e e esoluio , a d othe p ag ati e i h e t p o esses. I the ase of su h uli odal a t o k as il , this ould ea the e og iio of the o te t of the isual a d au al ha els.220Although the autho s of the ‘ele a e theo state that e pli atu es a al a s e eithe t ue o false, hi h ould ot e possi le fo i ages, Fo e ille suggests that i the ase of i ages e a also de i e e pli atu es, e ause so e o te t a e i fe ed f o e e i age.221
The e t stage is the o st u io of a app op iate h pothesis a out the i te ded o te tual assu pio s o , i ele a e–theo ei te s - i pli ated p e ises. A d i all , the o st u io of a app op iate h pothesis de i ed f o the o te tual i fo aio . These a e the so- alled i pli ated o lusio s.222
Fi st of all, it has to e st essed that these th ee su -tasks a e ot se ue tiall o de ed ut take pla e i pa allel ith o e a othe . O , as “pe e a d Wilso ha e put it Co p ehe sio is a
1� J���� P����� Experiencing Fiction: Judgments, Progressions, and the Rhetorical Theory of Narrative� C�������� ���� �. 1�1�1�. � I c��������� ����� ���� C������ F��c�v���� ���� ��� R���v��c� ������ ������ ������ ��v������ ���� ������ to verbal communication, can also be applied to such multimodal communication form as ilm. For further argumentation about the application of the Relevance theory to visual and multimodal communication see C������ F��c�v���� Relevance Theory as a model for analyzing visual and multimodal communication �� D�v�� ��c��� ���.� Visual Communication [to be published in 2014]. Draft available at htp:// uldis . o dp ess. o / / / / ele a e-theo -as- odel-fo -a al zi g- isual-a d- uli odal- o u i aio / �Acc����� 1.10.2013). ��� C������ F��c�v���� Relevanz und Prägnanz: Kunst als Kommunikation �� Zeitschrift für Semiotik, Vol. .31, No 1-2, 2009, p. 47-63, ��� C������ F��c�v���� Addressing an audience: Time, place, and genre in Peter van Straaten´s calendar cartoons �� Humor 18-3, 2005, p. 247-278. 1 C������ F��c�v���� Relevance Theory as a model for analyzing visual and multimodal communication �� D�v�� ��c��� ���.� Visual Communication [to be published in 2014]. Draft available at htp:// uldis . o dp ess. o / / / / ele a e-theo -as- odel-fo -a al zi g- isual-a d- uli odal- o u i aio / (Accessed 1.10.2013). D����� W������ D�� S������ Relevance theory �� ������c� R. H��� & G������ W��� ����.� Handbook of Pragmatics, Oxford, 2004, �v������� �� http://www.dan.sperber.fr/?p=93 (Accessed 14.07.2013). II. Case Studies - 1. Goodbye, Dragon Inn 44 o -li e p o ess. 223
Fo the u de sta di g of the o p ehe sio p o esses of a slo il , it is i po ta t to d a the ate io to the fa t that oth of these ki ds of i pli atu es – i pli ated p e ises a d i pli ated o lusio s - a a i thei st e gth.224 We speak of st o g i pli atu es he the utual a ifest ess of a essage is e o ious, ut eak i pli atu es a o u he a ide ed a ge of possi iliies to hoose f o a e p ese t. A poi t a e e e ea hed he o e ou age e t is gi e at all. I the ase of st o g i pli atu es the autho of the ute a e is espo si le fo the assu pio s, ut i the ase of eak i pli atu es the espo si ilit lies full o the side of the e ei e .225 “t o g i pli atu es a e those fo hose de i aio the se de takes espo si ilit , ut i eak o es the add essee de i es at his o dis eio . 226
As “pe e a d Wilso ightl e a k, at the eakest e d of the s ale of i pli atu es the e ei e possesses less a d less o ide e a out the pa i ula speake s thoughts, a d this is p e isel he e the i dete i a lies.227 This opi io is also o siste t ith Da id Bo d ell s sta e – e e though he uilds his og ii e odel of il o p ehe sio o the assu pio that the te t is so eated that it seeks e tai i te su je i e egula iies of espo se, he a k o ledges the e iste e of zo es of i te depe de i i e ai i te p etaio i te io all o st u ted the p odu e s. 228
1.3. Sender of the message
Befo e fu the e a i aio of the issue of i pli atu es, a side- e a k has to e ade. The ‘ele a e theo a d its adhe e ts al a s speak of the se de of a essage. It should he e e stated that o e the ou se of this a al sis eithe the oio of the se de as a pa i ula il ake , o the use of the o epts of i plied autho 229 o i plied il ake ha e ee uilized.230 The stud i stead follo ed Da id He a s suggesio – he uses the te i te io alit as a a al i al tool fo app oa hi g this issue. His posiio is o th uoi g he e at le gth: ‘athe tha ei g lo alized i pa ti ula i ds, i te tio alit i a ati e o te ts is uilt i to the doi g, the a ti it st u tu e, of sto telli g a d sto -i te p etatio . … su h i te tio s a e dist i uted a oss te t p odu e s, te t i te p ete s, te tual
223 Deidre Wilson, Dan Sperber Relevance theory �� ������c� R. H��� & G������ W��� ����.� Handbook of Pragmatics, Oxford, 2004, �v������� �� htp:// .da .spe e .f /?p= (Accessed 14.07.2013). 4 D�� S������� D����� W����� Relevance. Communication and Cognition. �� �������, Oxford, 1���� �. 1��. � I���.� �. 1��. 6 C������ F��c�v���� Relevance Theory as a model for analyzing visual and multimodal communication. D�v�� ��c��� ���.� Visual Communication [to be published in 2014]. Draft available under htp:// uldis . o dp ess. o / / / / ele a e-theo -as- odel-fo -a al zi g- isual-a d- uli odal- o u i aio / (1.10.2013) � D�� S������� D����� W����� Relevance. Communication and Cognition. �� �������, Oxford, 1���� �. ��. 8 D�v�� B������� Neo-Structuralist Narratology and the Functions of Filmic Storytelling �� ����������� R��� Narrative Across Media. The Languages of Storytelling� ���c���� ��4� �. 1� 18. � W���� C.B���� The Rhetoric of Fiction (2ed Edition), Chicago, 1983, p. 431. 230 Berys Gaut The Philosophy of the Movies: Cinematic Narration �� P���� K�v� ���.� The Blackwell Guide to Aesthetics� ������� ��4� �. 48. II. Case Studies - 1. Goodbye, Dragon Inn 4� desig s, a d the o u i ati e e i o e ts i hi h su h desig s a e p odu ed a d i te p eted.231
Ge a a atologist Ja Al e o i ues this t ai of thought st essi g that i the ase of i e ai a aio , he e e a e e e su e of the p e ise i te io s of a il ake a d of the shee u e of people i ol ed, it akes se se to use the o ept of h pothei al i te io alis . To i te p et a il as if the e as a aio al age t ho ade the hoi es. Thus, the h pothei al il ake as Al e la els it, de otes the si gle e it to hi h the ie e as i es o s ious o u o s ious oi aio s that a tuated the p ofessio als ho e e espo si le fo the aki g of the il i uesio . 232 Al e also u de li es the ad a tages of this o ept o e the othe s. Na el , this o ept does ot e ui e that the i te p ete is a solutel su e a out his i fe e es a out hat the autho ight ha e a ted to o u i ate. H pothei al il ake allo s fo spe ulaio . 233
Fo the sake of o e ie e this stud ill sill use the a e of the pa i ula il ake , ut ill a tuall e efe i g to the h pothei al il ake ehi d it.
1.4. Explicatures in Goodbye, Dragon Inn
The follo i g des ipio of the il Goodbye, Dragon Inn has ee a ied out ai l taki g i to a ou t the de odi g of the isual i ages a d its a o pa i g au al i fo aio , a d i fe i g thei e pli atu es. It a e dedu ed that i ase of slo i e a, e e if the e pli atu es a te d to elo g to st o g e pli atu es, the eal of i pli atu es elo gs to the fa e d of the eak ess s ale, e ause oade o te tual i fo aio is ote ot a essi le du i g the il s p oje io . Thus, the hole le el of i pli ated o lusio s ote sta s i a essi le fo ost of the audie e. Co se ue tl , although the ie e a e og ize hat is depi ted o s ee a d u de sta d hat is ei g said pe haps o l ith the help of su itles , thei i te p etaio of the il a ot lead the to e a le to a s e What is it about? a d Wh does the il aker a t to tell e this pari ular stor ? The a se e of the essage i a il a ot lead to egai e opi io s a out the ualit of the a t o k, ut a lead to a eakdo i o u i aio et ee the il a d its audie e.
Cha les Fo e ille states that altogethe a t ep ese ts eak o u i aio , a d isual a t i pa i ula .234 He also dou ts hethe a t has to fulil the i fo ai e i te io hi h,
231 Da id He a Narrai e Theor a d the I te io al Sta e i Partial Answers� J��� ��8. V��. 6� I��. � �. 233-260, available at htp://lio . had k. o.uk/sea hFullte t.do?id=‘ &di Le el= &a ea=a ell&fo a d= it ef_t (Accessed 12.10.2013). 232 Jan Alber Hypothetical Intentionalism: Cinematic Narration Reconsidered �� J�� A����� ����k� F�������k ����.� Postclassical Narratology: Approaches and Analysis� C�������� �1�� �. 16��168. 233 Ibid., �.p. 1��.177. 234 CharlesC������ ForcevilleF��c�v���� Relevanz und Prägnanz: Kunst als Kommunikation �� Zeitschrift für Semiotik, Vol.31, No � 1�� ���� �.�1� �6. II. Case Studies - 1. Goodbye, Dragon Inn 46 esides the o u i ai e i te io , is o e of t o i te io s of o u i aio a o di g to the ‘ele a e theo “pe e a d Wilso .235 Whe eas the i fo ai e i te io i plies that the autho a ts to i fo the audie e a out so ethi g, the o u i ai e i te io suggests that this i fo ai e i te io a ts to e o u i ated the se de .236 Whe eas the o u i ai e i te io is also o ious i the ase of a t – a il ake s ish to s ee his il i a theat e is al ead a a ifestaio of his o u i ai e i te io . But, as Fo e ille ightl e a ks, a ists ote do ot k o p e isel hat essages the a t to o e . A d it s ot e e e essa that the a ist al a s k o s hat essages he a ts to o u i ate.237 The p eo upaio he ei ith the issue of o u i ai e i te io i a t is ot aused the o i io that a a t o k should al a s ha e a essage. O the o t a – su h a o lusio ould lead us to the opi io that o l edif i g pu pose a jusif the e iste e of a t, a d ith this opi io e ould t a spo t ou sel es a k to the th e tu . The aggi g uesio is hat is the su plus that slo il s deli e to thei audie e if, fo the ost pa t, e do ot e ou te a stu i g isual o au al t a k as, fo e a ple, i the i e a du look of the s i F a e a d the sto , displa i g i eso e o di a a i iies, is a o deal to at h. The a s e to this uesio ill e fo ulated at the e d of this stud .
I the e t su hapte Goodbye, Dragon Inn ill e des i ed taki g i to a ou t o l the e pli atu es a d st o g i pli atu es. This is i fo aio that is o e o less lea l o u i ated the il ake usi g the tools at ha d.
E e thi g that has to e i fe ed the ie e th ough the p o ess of eak i pli atu es a i ai g a ious ields of o te tual i fo aio i fo aio ot a aila le du i g the ie i g , ill e e plai ed i a su se ue t su hapte . Although “pe e a d Wilso st ess that i fo aio p o essi g du i g o u i aio takes pla e si ulta eousl , the lai he ei is that i ase of this il , this thi d stage – i pli ated o lusio s – a ostl take pla e o l ith dela . Na el , he the ie e is o si g the I te et et . a d a ui es the o te tual k o ledge eeded fo uildi g su h o lusio s.
Du i g the des ipio of the il the a ts ill e deli eated usi g the te i olog of K isi Tho pso . The se o d step ill e plai the o te tual i fo aio eeded i o de to uild i pli ated o lusio s a d, uildi g o that, the deg ee of a ai it Goodbye, i Dragon Inn ill e assessed. I o lusio ill e a e pla aio of he e a d h a t eaks e e
235 Dan Sperber, Deidre Wilson Relevance. Communication and Cognition, 2nd edition, Oxford, 1995, p. 29. 236Ibid., p. �.29. 237 CharlesC������ ForcevilleF��c�v���� Relevanz und Prägnanz: Kunst als Kommunikation. Zeitschrift für Semiotik, Vol.31, No 1�� ���� �. �4. II. Case Studies - 1. Goodbye, Dragon Inn 4� i se ted.
1.5.Des ripio of the il ’s stru ture:
The Setup i utes –
The il egi s ith the ope i g itles, he eas of-s ee a oi e a ates the egi i g of a sto . Ate the itles, the i st shots a e f o a olde Chi ese a io il that the ie e a e og ize f o the dete io ated o diio of the olou il .
A ut to the e t shot of a i e a audito iu ith a il u i g o the s ee a d a hall full of ie e s. Although it s a look th ough a a k i the u tai s f o ehi d the audie e suggesi g so eo e s su je i e ie , o ha a te is ide iied eithe th ough the shot se ue e o othe il i de i es. I a ase, o l ie e s fa ilia ith i e ai odes ould e og ize that a shot ide if i g the pe so looki g th ough the u tai s is issi g.
“e e al stai lo g shots a e de oted to the i e a audie e. I the e sui g shot e see the i e a s e t a e, hi h a ot e o ious to all ie e s. It is ai i g. Ate se e al se o ds of the u i g i e a pe so appea s. It is up to the ie e to i fe that this a is of Japa ese aio alit a d that his o es i di ate that he a ts to u a i ket. But fo i ate i e ie e s this detail a e ai u oi ed, e ause i the lo g shot the ate io of the ie e is ot guided the il ake .
Ne t stai lo g shot sho s a lo g, poo l lit o ido - the o sta t sou d of ai . Ate so e i e e oi e a o a at hi g so ethi g th ough a a k i the doo o the ight side of the shot. I the a kg ou d of the shot e see a pe so ate se e al ie i gs it s lea that it is the Japa ese tou ist , ho dis o e s the e t a e to the i e a hall a d slips i . The o a li ps a d depa ts th ough the o ido .
I the e t shot the i e a audito iu is e pt , o l a s all hild is sii g the e, eai g a d at hi g a il ; i the a kg ou d, the Japa ese tou ist is looki g fo a seat. I the e t shot e see the li pi g gi l, ho is o sii g i the i ket oi e a d has p epa ed a stea ed u . “he i les at it; the shot lasts fo t o a d a half i utes. The shot is a o pa ied the dista t sou d of the il s ee i g.
Ne t shot: the Japa ese tou ist, sii g i the i e a, is ei g distu ed the ustli g of plasi a d the sou d of eai g, hi h o es f o the o l othe t o ie e s of the il hat the eat a ot e ade out lea l , e ause the t o ie e s sit at a dista e f o the a e a. Ate so e i e, the Japa ese a sta ds up.
The ashie sli es the u a d aps it i , a d the she see s to e lost i thought. Th oughout the e t th ee shots the ashie t a els a ou d the i e a ith a apped u , the falli g ai a e hea d, the da k ess of the i e a ith lo g shado s a d hite light f o the la ps II. Case Studies - 1. Goodbye, Dragon Inn 48 o situtes a leak at osphe e. The sile e i the ide o ido s a d the late of the il p oje to i the p oje io oo o l e phasize this.
The jou e of the ashie e ds i the p oje io oo , he e she lea es the u .
I the e t shot e see the Japa ese tou ist, sii g i the i e a ith the sou d of a old Chi ese a io il i the of-s ee . He a ts to light a iga ete, ut has o at hes. He lea s to a ds the a sii g i f o t of hi ut does t da e ask hi , e ause p e isel at that o e t a i isi le ie e f o the o ehi d hi sudde l puts his legs o the f o t seat – this e e t a u ii gl ield a s ile f o the audie e of the eal Goodbye, Dragon Inn il . I the a kg ou d e see a othe a e te the i e a a d sit do e t to the Japa ese a . The late tu s a a f o hi ut is t apped the legs of the i isi le ie e f o the o ehi d. I the e t shot, as the e o e sta ds up a d lea es, e see a olde a e te the i e a o the fa ight. I the e t shot the old a sits do e t to the o fo the sake of o e ie e these ha a te s ill e ide iied as g a dfathe a d g a dso although - o su p ise - this sto li e e ai s o pletel u de eloped o e the ou se of the il a d the oles of these ha a te s a o l e assessed o suli g e te al sou es ate the il s ee i g . Thus, fo the ie e it see s to e just a o a i g o fu the ea i g fo sto de elop e t.
A othe a o es i to the shot f o the let a d sits do e t to the Japa ese a . “e e al e lea e the shot usi g the doo o the fa ight.
This shot is follo ed a shot f o the a k of the i e a audito iu , ith the a e a f a i g the i e a s ee ith f ag e ts f o the old Chi ese a io il lappi g o e the s ee , a d usi f o that il hea d of-s ee .
I the e t shot the Japa ese a sits do e t to the g a dfathe . The Japa ese a akes a te tai e o e i o de to ake a o ta t ith the g a dfathe to ask hi fo a light, e ause he sill a ts to light a iga ete , the he sta ds up a d lea es the hall.
The sei g of the e t shot is the ladies oo , he e the ashie he ks ea h of the stalls – as the a e a sta s outside the stai lo g shot - it is t possi le to spe if hat e a tl she s doi g. But f o the oises e a guess that the ashie a i ates the lushes i side the stalls.
I the e t shot, situated i the e s oo , the Japa ese a e te s a d pees e t to a othe i e a pat o . The last t o shots a e do i ated the oise of u i g ate . A thi d a a i es at the u i als, a fou th o e steps out of a stall, ashes his ha ds a d lea es. It s possi le fo the ie e to egiste that the Japa ese a gla es at hi . A ith a e te s, o es al ost to the ight edge of the shot a d pi ks up a pa k of iga etes, hi h he has supposedl fo gote a d e its. The a e a li ge s o the th ee e at the u i als, ho fo a diago al II. Case Studies - 1. Goodbye, Dragon Inn 4� li e.
The e t shot lasts fo a i ute a d a half a d i it e see the ashie ho o es e slo l f o the ea of the o ido to the doo o the let side of the shot a d e te s th ough it. Ate she has e te ed, the shot lasts fo a othe itee se o ds ith othi g i it, o l the sou d of he p osthei leg tou hi g the g ou d.
Cut to the i e a audito iu he e e see f ag e ts of the old Chi ese a io il o s ee . A doo e t to the s ee , i isi le i the da k ess, ope s – it s the ashie looki g up at the s ee . “he disappea s, lea i g the doo ope ; a ight light outli es the o tou s of the doo .
Ne t is a o tage se ue e et ee sho t lose-ups of the ashie a d a io -shots f o the Chi ese il . The lo aio of the ashie is u lea , it see s she is sta di g ehi d the s ee .
Co pli ai g a io i utes –
I the shot that sta ts the o pli ai g a io the ashie li s a spi al stai a , see f o a o e. “he does it slo l a d pai full . The shot li ge s o he .
I the e t shot, hi h lasts fo th ee i utes, she o es f o the a kg ou d of the poo l lit o ido to the stai ase o the ight side of the shot a d sta ts to des e d a e a slightl ef a es . Noise of the u i g il f o ot fa a a .
The e t shot is uite u usual fo this il , e ause it s a lose-up of a a k i the doo s a d the ashie looki g th ough it, ut the e is o e e se shot, so that the audie e a ot dis o e hat the ashie is looki g at. I stead, the e t shot sho s a shallo a d poo l lit o ido f o a o e he e se e al e pass ea h othe . The e a e se e al pa s.
Cut to the e t shot, he e e see the Japa ese a i a ediu lose up sta di g ehi d a fe e. He tu s a ou d. I the e t ediu lo g shot the Japa ese a app oa hes a a s oki g at the i do a d akes a te tai e o e to esta lish o ta t, ut the a ig o es hi .
Ne t shot is slightl f o a o e. It is a di l lit sto e oo , the Japa ese a alks a oss it. I the su se ue t shot the Japa ese a passes a a i a e a o o ido ith a lue lit i do , the a s a el pass ea h othe e ause the se o d a is o pule t.
I the su se ue t shot the ashie ope s a doo ; the a e a ef a es he as she e te s. It happe s to e the p oje io oo .
The e t shot is uite o ple a d the efo e uite u usual fo the isual desig of the il . At i st e oi e the lau d ha gi g o e the stai s, asi g a shado o the all. We hea the II. Case Studies - 1. Goodbye, Dragon Inn �� sou d of steps. “ho tl ate the Japa ese a o es out of the shado o the ight side of the shot a d looks up at a a s oki g i the doo a o the se o d loo o the fa let of the shot . That is follo ed a lo g shot of a a s oki g. He tu s a ou d a d lea es the doo a . The su se ue t shot sho s hi app oa hi g the a e a th ough a shallo o ido . I this poo l lit sei g he fu io s o e as a shado . As he sta ds a d lea s to a ds a all, e egiste the Japa ese a fa ehi d hi , sta di g the stai s. Both e sta d sill, o l the o ki g e ilato i the iddle of the o ido asts so e shado .
The ashie sits i e t i the p oje io oo . The stea ed u she ought la s u tou hed o the ta le. We hea the oi es a d oises f o the u i g il . “he takes the u a d lea es.
A othe shot of the t o e – the Japa ese a a d the s oke – sta di g i the o ido , slightl il ed f o a o e. The Japa ese a slo l app oa hes hi a d, ith a od, asks to light a iga ete. The s oke lights his lighte . This shot is he e the i st spoke li e of this il is said. It is the i ute a k of the il . The s oki g a asks the Japa ese a if he k e that this i e a is hau ted ghosts. The Japa ese a does t espo d. Both e s oke. The Japa ese a o es e lose to the s oke as if a i g so ethi g, ut the s oke d ops his iga ete a d lea es slo l , asi g a ig shado o the all. The othe a o fesses that he is Japa ese. Ca e a li ge s o the Japa ese a ho gazes ate the se o d a e ii g.
De elop e t i utes -
Cut to the i e a hall. I the a kg ou d of the shot sits a ou g o a , ho e see fo the i st i e. “he a ks uts. The Japa ese a o es i to the shot a d takes a pla e i the fo eg ou d of the shot. Cut to a othe pe spe i e of this shot – the a e a is posiio ed slightl a o e the o a . He shoe falls of. O l the Japa ese a see s to e distu ed it. The o a o i ues to eat uts ith he legs ha gi g o e the f o t seat. The she li s o e the f o t o , o s a d looks fo the shoe o the g ou d. Cut to a ediu shot o the Japa ese a at hi g the il . He tu s to look fo the gi l, ut she has disappea ed. He tu s to the othe side, ut he a ot i d he the e eithe .
A lose-up of the Japa ese a see f o the let side i a half-p oile. He is te iied the oise of a ki g uts, as the sou e of the oise is ot isi le. The the a e a pa s to the ight a d e dis o e the gi l, sii g ight ehi d the Japa ese a . The shot e ds ith a lose-up of he at hi g a o ie.
Ne t shot is f o slightl a o e a d ehi d, ith the Japa ese a a d the gi l sii g o the ight side of the f a e. The Japa ese a da es to ha e a look at the gi l. The o ie o s ee o i ues; e hea the oi es f o the il a d the oise of a ki g uts. Ate so e i e the II. Case Studies - 1. Goodbye, Dragon Inn �1 Japa ese a sta ds up i a pa i , u s do the o s to the e t a e a d lea es the i e a. Ca e a li ge s o the s e e.
Cli a i utes -
The ide o ido agai , athed ith a g ee a d lue light. The ashie o es ith a op to the e t a e doo of the i e a hall. “he looks at he at h. Cut to a e lo g shot of the i e a hall, e see just t o e see f o ehi d at hi g the il . O e of the is the olde a the g a dfathe , ho tu s a ou d to a ds the othe a , ho is sii g ehi d hi . Cut to a lose-up of the g a dfathe . He tu s his fa e a a . This shot is follo ed a id lose-up of the othe a . I the e t shot e see the g a dfathe f o ehi d , ho is at hi g a a io s e e o the ig s ee . T o sho t shots of the old Chi ese il . The oth depi t a io s of this s o d-il i ute . Ne t shot is a e lo g shot of the i e a hall f o the f o t. The e a e sill o l t o ie e s i the hall – the g a dfathe a d the othe a . A lo g shot of the i e a hall, see f o ehi d a d a o e. O s ee , the a io s e e o i ues. A othe lo g shot of the i e a, see f o the let side a d ehi d. A shot of a othe a at hi g a il , hile a li e f o the s ee is hea d: Lo d Tzao, ou e lost hat s do elo , ete p ote t the top . A lose-up of the st a ge that lasts fo a i ute a d a half, a d at the e d of the shot e see tea s i his e es that oi ide ith the e d of the il o the s ee i ute .
I the e t shot the ashie looks th ough the gap i the u tai f o ehi d the last o . O the s ee the losi g itles egi to oll.
The e t shot e eals the i e a audito iu as see f o the s ee , the lights g aduall o e o . The e is o o e i the hall. The ashie ope s the doo o the fa ight a d e te s the hall, sta ts to id up, a d alks th ough the i e a id i g up he e a d the e. “he lea es o the fa let, ut the a e a sill li ge s o the e pt i e a. The episode lasts fo i e i utes, a d a stai shot of the e pt i e a o e the ashie has let, lasts fo t o o e i utes.
Cut to the ide o ido , g a dfathe a d g a dso lea e the i e a, ut to a othe shot – g a dfathe a d g a dso pass a losed fe e. Cut to the e t a e hall of the i e a. The se o d olde a , ho e sa sii g i the i e a, sta ds i the e t a e hall. The g a dfathe a d g a dso alk hi . As the pass the st a ge , he sta ts to speak. Tea he Miao “hah-Chu . Do ou o e to see a o ie? The g a dfathe a s e s that he has t see a o ie fo a lo g i e. The st a ge sa s that o o e o es to the o ies a o e, a d that o o e e e e s the a o e i ute . Cut to a sill lo g shot of the t o, o l the II. Case Studies - 1. Goodbye, Dragon Inn � sou d of the pou i g ai a e hea d.
Epilogue i ute -
P oje io oo , the p oje io ist ho e see fo the i st i e! e ds the il st ip o the oll hile s oki g.
Cut to the e s oo . The ashie tu s the ate of at the u i als. Cut to a othe oo p e iousl u see . The p oje io ist a ies i a u ket of ate , pou s it i to a othe o e, the goes to a i do a d pou s the ate th ough the i do . The he e ai s the i do , s oki g.
Cashie at the o oi e. “he takes he oat a d ha d ag, looks i the d a e fo so ethi g, the she takes he t o ags a d a u ella, tu s of the light a d lea es. Th ough the i do of the o oi e e see he taki g out the ga age ag.
Cut to outside the i e a; it s ai i g. O the all is a a ou e e t that the i e a is te po a il losed. The ashie th o s a a the ga age.
Cut to the e t a e hall of the i e a. The p oje io ist olls do the fe e.
I the e t shot the p oje io ist is i side the e t a e hall. He s okes the ga li g a hi e, a d the puts so e ash i to it. It is so e ki d of fo tu e telle . Ate a ds he goes i to the o oi e to the pot he e the stea ed u as ooked. The ashie let it i the o oi e. Close-up of the pot, hi h is e pt .
Lo g shot of the e t a e of the i e a. The p oje io ist o es out, gets o his s oote a d lea es. It tu s out that o the let side of the shot the ashie has ee aii g fo hi . No she o es to the fo e a d slo l lea es. Cut to the st eet. The ai is pou i g; the ashie slo l o es f o a ea pla . A o a i elod egi s to pla , o t asi g the at osphe e a d the da k ess of the shot. A fe ale si ge si gs a out the eauiful past, hi h she a ot let go.
1.6. Implicated conclusions for Goodbye, Dragon Inn
As it e o es lea f o the des ipio of the shot o te t of Goodbye, Dragon Inn, the isual a d au al ha els deli e o l the a e o es of hat ight e tu ed i to a plausi le plot th ough the p o ess of i pli ated o lusio s. As Fo e ille ould sa : De e plizit du h )ei he e itelte I halt ei e Miteilu g, die ei e Ko u izie e de ih e Ad essate ü e itelt, i d ge öh li h i ht eh sei als ei g o e “i ulus, ü e de hi aus de Ad essat eite e kog ii e Ha dlu ge ollziehe uss, u desse ‘ele a z zu e ke e . […] da it ei e Miteilu g ‘ele a z e hält, uss die II. Case Studies - 1. Goodbye, Dragon Inn 53 Dekodie u g stets du h I fe e z ildu g e ollstä digt e de .238
The e e da e pe ie es o hi h the e pli atu es a d st o g i pli atu es fo u de sta di g this il a e uilt upo de i e f o ou e pe ie e as i e a goe s – a out ho a isit to a i e a egi s, ho the p oje io p o eeds a d ho a s ee i g e ds. But it also elies o ou k o ledge a out the ope i g of a il o its e di g.
We a lo ate the o te tual i fo aio eeded fo u de sta di g the il a d uildi g i pli ated o lusio s o t o le els: the Tai a ese ultu al o te t a d the autho ial sig atu e of Tsai Mi g Lia g. Whe eas a i e a-edu ated ie e ho is fa ilia ith the output of Tsai Mi g-Lia g ight e og ize his fa o ite i e ai de i es o p efe ed a to s, ot e e i e a-edu ated ie e has the e pe ise i Tai a ese i e a ultu e at his disposal. Thus, ot all audie e e e s ha e the sa e og ii e e i o e t a d o se ue tl ot all ill a i e at the sa e o lusio s a d o st u t the sa e sto out of the shots. E e o e, the o lusio s de i ed a dife e o ousl , a d i this o te t it is i po ta t to o e agai u de li e that i the ase of a t e a e ope ai g ith o -de o st ai e i fe e es. The a ot e p o ed o disapp o ed; the a e el e o i ed o dis o i ed.239 The efo e also, the o te tual i pli atu es o st u ted i this esea h p oje t taki g i to a ou t the fa tual o te tual i fo aio at the autho s disposal as ell as e pe ie e as il ie e , a e th a ted othe esea he s ho ha e othe og ii e e i o e ts a d othe i te te ts a aila le.
. .a Refere es of Tai a ese il ulture
The il egi s ith a of-s ee oi e a ai g the plot of a othe il , a d ith so e s e es f o a olde il that the autho , as so eo e ith o e pe ise i Chi ese i e a, named as a old Chi ese a io il du i g the i st stage of ge e ai g e pli atu es. O l ie e s ith spe ii a kg ou d k o ledge a e og ize f o these shots that that sto is the egi i g of the Tai a ese il lassi Dragon Gate Inn f o , di e ted Ki g Hu. This il , s ee ed du i g the hole du aio ofGoodbye, Dragon Inn, ep ese ts the ge e of a ial a ts il s u ia . It helps Tsai to o e t his Tai a ese ide it ith the a ie t Chi ese ultu e. Tsai pe ei es these old u ia a ial a ts il s as his e oio al ho ela d.240 But i the o te t ofGoodbye, Dragon Inn, the il Dragon Gate Inn fu io s o l as a a kd op agai st hi h all othe sto li es de elop.
Du i g the se o d episode of the il , the sei g he e the a io takes pla e is dei ed. It
238 CharlesC������ ForcevilleF��c�v���� Relevanz und Prägnanz: Kunst als Kommunikation �� Zeitschrift für Semiotik, Vol..31, No 1�� ���� �. ��. 239 Warren Buckland The Cognitive Semiotics of Film, C��������� ���� �. 8�. 4� E��� R����� Subversive Realitäten. Tsai Ming-Liang und seine Filme� �������� ���� �. ��. II. Case Studies - 1. Goodbye, Dragon Inn �4 is a old i e a, he e the old il Dragon Gate Inn is ei g sho . It is theFu-Ho Grand Theatre as e a lea f o e te al sou es. Ella ‘aidel, ho has ite a do to al thesis a out the di e to , has dis o e ed that Tsai Mi g-Lia g fou d the i spi aio fo the il i a old Fuhe- i e a o the outski ts of Taipei. It as fou ded i , a d the il ake dis o e ed it du i g the shooi g of the il What Time Is It There? . Although the e e e al ost o ie e s, il s e e sill sho i ase so eo e d ops i . The i e a had e o e a eei g-poi t fo ho ose uals. The il s o s ee fu io ed o l as a e use to eet. I his il Tsai e eates the at osphe e of the old theat e a d its last da s. Thus, o the g ou ds of this o te tual i fo aio , a i pli ated o lusio a e o st u ted that this i e a has e o e a pla e he e ho ose uals a o e to o tai se , ut, i o i g the de a of the i e a theat e, a o ta t et ee the ga e is i possi le.241
A othe eak o te tual i pli atu e that a o l e i fe ed ith suita le o te tual i fo aio is the i te p etaio of the montage sequence et ee the ashie a d the a io -shots f o Dragon Gate Inn at the e d of the setup. This se ue e a ui es addiio al ea i g, if see i the o te t of Chi ese i e a histo as it has ee e e pliied Ella ‘aidel. I this o tage se ue e, the ai fe ale ha a te s of oth il s a e ju taposed. The ai ha a te of the Tsai s il is a disa led pe so he eas the s o ds o a f o the Ki g Hu il lies th ough the ai a d defeats the o ld do i ated e .242
The e t episode fo hi h the i e ai o te t is ea t to guide the ie e s easo i g p o edu e o es at the egi i g of the li a . The e e sa t o older e sii g i the cinema hall, ut the lose-ups of these t o e a e ju taposed ith f ag e ts f o Dragon Gate Inn a d the se te e Lo d Tzao, ou e lost hat s do elo , ete p ote t the top . But o l ie e s fa ilia ith the Tai a ese il histo a e og ize that these e sii g i the audito iu a e Tai a ese a to s Miao Tia , ho pla s the g a dfathe , a d Chu “hih, ho pla s hi self. The oth a ted i the Tai a ese il lassi Dragon Gate Inn, sho o the s ee . “o, o s ee the e ou te the sel es as ou g e . The efe e e to Tai a ese i e a histo as a o te tual f a e o k o ks also fo the e t episode he e e ou te oth e eei g at the e t a e of the i e a. This episode a e ead t ofold. Fi st of all, it lea l is a efe e e to the Ki g Hu il . “e o dl , it is a o e ta o the a tual i e a situaio , he e o o e o es to see il s a o e, so that i e as like the Fuhe i e a a e fo ed to lose do . I a ase, this episode is a pa i ula l good poi t i de o st ai g that ote i a il that is highl depe de t o o te tual i fo aio ; the ie e ealizes that this is so ethi g, so e a kg ou d k o ledge eeded i o de to u de sta d the s e e p ope l . But at the sa e i e the ie e u de sta ds that this a kg ou d i fo aio is ot a aila le to hi du i g the ie i g. It a e o pa ed to a situaio of sta di g ehi d a losed doo a d hea i g the usi pla i g th ough it, ut ou ha e to ha e pe issio to
41 E��� R����� Subversive Realitäten. Tsai Ming-Liang und seine Filme� �������� ���� �. �6. 4 I���.� �. ��. II. Case Studies - 1. Goodbye, Dragon Inn �� e te .
. . Refere es to Tsai Mi g-Lia g´s sig ature
A addiio al i te p etaio al la e a e o st u ted if e take i to a ou t the il ake s sig atu e. The i t odu to su hapte o tai ed a e pla aio that, e e he efe i g to a pa i ula il ake a e, e a tuall ha e the h pothei al il ake i i d. Fo the pu poses of this stud the o ept of the h pothei al il ake is e useful as a heu isi tool he dei i g the o u i ato of the essage. Ho e e , although il is a olle i e a t, i the t adiio of lassi al il theo it is see as o e alua le he the sig atu e of a pa i ula autho a e t a ed th ough the ai a d/ o st lisi o siste a oss his oeu e.243 But, as e plai ed a o e, the o ept of the h pothei al il ake pe its o e spe ulaio a out the essage of a il tha the o epts of i plied autho o il ake . Thus, it is o e o pai le ith The ‘ele a e theo sta e, hi h, ith the oio of o - de o st ai e ute a es, allo s us to assess the i fe e es ot as t ue o false, ut just as o i ed o dis o i ed ith the help of othe o te tual fa to s. This i u sta e also allo s fo isi te p etaio a d plu alit of i te p etaio s. But ost of a slo i e a audie e, all pe haps si ila l i e a-edu ated, ill ot use su h a o pli ated theo ei al o ept as h pothei al il ake i at i ui g ea i g to a il . Most ill use the o ept of auteu as des i ed a o e. All the sa e though, hethe ou suppose a eal il ake is ehi d the a t o k o a i plied il ake as a theo ei al o st u t, Tsai Mi g-Lia g is a useful f a e of efe e e. I the t adiio of lassi al il theo , the sea h fo o siste ies a oss his oeu e is suppo ted the il ake s de la aio s of his p efe e es, i te ests a d life e pe ie e, hi h all ou ish his u i ue a isi isio . Thus, he eas i the i st pa t of the a al sis Tsai Mi g-Lia g as efe ed to as a h pothei al i sta e, he e the lassi app oa h to autho ship is used, e ause it fa ilitates the uildi g of i pli ated o lusio s a d thus fa ilitates the a essi ilit of the il s sto .
Fi st of all, the su je t of Mi g-Lia g s il s a e e plai ed his i te est i the o te po a o ld a d i u da e a i iies. Tsai Mi g-lia g o e ts i a othe o te t as follo s: The easo h I al a s deal ith the p ese t i il s is si pl e ause that´s hat I a t to sho . Thi gs of the p ese t a e t ue, the see to e totall authe i , the lea l elo g to ealit . .. the easo it i te ests e is a o e all e ause I a t to sho thi gs that a e t ue.244
As Tsai Mi g-lia g egiste s a u da e a i it ith his a e a a d ha ges it ith sig ii a e, the ie e has to at h his il s e ate i el . Fo e a ple, o e ight suppose that the u i g i e of the shot ith the u i ai g e i the la ato is si ila to the eal
243 John Caughie Introduction �� J��� C������ ���.� Theories of Authorship� ������� 1���� �. �. 44 D���è�� R�v�è�� & ���� ���������� Scouting �� J����P����� R���� O��v��� J������ D���è�� R�v�è�� Tsaï Ming-Liang, Paris, 1999, p. 103-104. II. Case Studies - 1. Goodbye, Dragon Inn �6 i e eeded fo u i ai g. That ould o espo d to Tsai Mi g-Lia g s opi io , that I a t the i e i il s to e eal, just like all the othe aspe ts .245 I this ase, the se ue e shot of the u i ai g e lasts fo th ee i utes. Not o l u i ai g, ut also eai g, sleepi g, a d se ual saisfa io i a Tsai Mi g-Lia g il ill last o s ee fo the du aio it ould take i eal life. Fo hi , these fo the eal ea i g of ou li es. At the sa e i e, su h s e es e oke dis o fo t i the ie e .246
The o e t aio o the u da e as o e of the p i ipal featu es of slo i e a is a k o ledged also othe s hola s.247 I a ase, if e highlight the sho i g of dull e e da a i iies i thei e i et as a aesthei su je t of a e tai g oup of il s - slo i e a i this ase, it p o pts the audie e to u de sta d these a ai es. Fo e ille e p esses the opi io that k o ledge of the ge e is the ost de isi e i uildi g o te tual assu pio s.248 I the ase of slo i e a, othe fa to s su h as the il ake s a e also pla a i po ta t fu io , a d the t pe of il has to e take i to a ou t as ell.
A othe ha a te isi of Tsai Mi g-Lia g s o k is the use of te ps ort su h as i the se ue es he the ashie e slo l osses a o ido a d the a e a u s fo se e al se o ds ate the ashie has let the s e e. This shot is si ila to othe shots i this il , he Tsai Mi g-Lia g lets the a e a u he the a io is o e . Like i the a t i e a il s of the s, he e e e ou te te ps ort, he e othi g happe s. Be “i ge a es su h o e ts i a il , he the a e a li ge s o the shot ate the a io has ee o pleted, as post-a io lag. He at i utes this de i e to a a i-Holl ood sta e he e the i isi ilit of edii g disappea s a d the self- o s ious ess of the a ai e o es to the fo e.249 Fla aga o e ts this a ai e de i e ith late ode ist i e a, ith the o k of Jea -Ma ie “t au a d Da iele Huillet, a d Theo A gelopoulos i pa i ula .250
This issue is losel o e ted to the issue of the elaio ship et ee Tsai Mi g-Lia g a d his audie e. He is e ell a a e of the u de he puts o the ie e s. But, as he states i a i te ie , he a ts the ie e to e pe ie e the i e that a si gle a io takes.251 I this ega d, his il s a e des i ed as do u e tal. P e isel this featu e u ites all slo i e a
4� I���.� �. 1��. 46 E��� R����� Subversive Realitäten. Tsai Ming-Liang und seine Filme, Marburg, 2009, p. 83. 4� ������� F������� Slow Cinema: Temporality and Style in Contemporary Art and Experimental Film � �1� University of Exeter, p. 103, available at htps://o e.e ete .a .uk/ eposito /ha dle/ / �Acc����� May 2013) . 48 C������ F��c�v���� Relevance Theory as a model for analyzing visual and multimodal communication �� D�v�� ��c��� ���.� Visual Communication [to be published in 2014]. Draft available at htp:// uldis . o dp ess. o / / / / ele a e-theo -as- odel-fo -a al zi g- isual-a d- uli odal- o u i aio / (Accessed 1.10.2013). 4� B�� S����� Jeanne Dielman: Cinematic Interrogation and `Ampliication`�� Millennium Film Journal� � 1�8�� �. ��. �� ������� F�������: Slow Cinema: Temporality and Style in Contemporary Art and Experimental Film � Universitz of Exeter, 2012, p. 96-97, htps://o e.e ete .a .uk/ eposito /ha dle/ / � ��cc����� ��� 2013). �1 D���è�� R�v�è��� ���� ���������� Scouting �� J����P����� R���� O��v��� J������ D���è�� R�v�è�� Tsaï Ming- Liang� P����� 1���� �. 1��. II. Case Studies - 1. Goodbye, Dragon Inn �� il s. Ea h a i it taki g pla e o s ee lasts as lo g as it ould i eal life, a d the audie e has to e pe ie e it i eal i e o go th ough the te ps ort u il the il ake hooses to ut.
The a to Miao Tia ho pla s the g a dfathe e e pliies a othe featu e ha a te isi to the a ai e st le of Tsai Mi g-Lia g. Tia pla s the fathe i all of Tsai s il s u il What Time Is It There , he e his ha a te dies. The efo e, the ha a te pla ed Tia i Goodbye, Dragon Inn a also e i te p eted as a ghost. Altogethe , all of Tsai s il s uild a u i e se ith igu es t a elli g f o il to il , a d uotaio s a d li ks poi i g f o o e il to othe s. Thus, a ie e fa ilia ith Tsai s il s a ake o e out of a othe of his il s tha othe s.
As Ella ‘aidel dis o e ed, the look th ough a gap i the u tai is a o o isual oif i the il s of Tsai. The app oa h to il usi , pui g a e oio al Tai a ese pop so g at the e d of the il , is also a o o featu e of Tsai s i e ai sig atu e. Thus the usi e p esses feeli gs a d e oio s u said the il s p otago ists.252
De Lu a lists i his disse taio se e al othe de i es of Tsai s a isi sig atu e su h as geo et i isual o posiio s o the a e use of lose-ups .253 “u el , Da id Bo d ell s thesis that the ie e ote just fo gets fa ts p ese ted o s ee if the a e see i gl ot sig ii a t fo the sto a ui es a e di e sio he e, e ause the uesio a ises ho u h e pe ise i Tsai s sig atu e is e ui ed i o de to u de sta d the sto .
1. . Degree of arrai ity i the il
As e io ed i the i t odu to hapte , i o de to u de sta d he e to i se t a eak et ee a ts, oth aspe ts ha e to e dis ussed – og ii e p ag ai s a d the e est de elop e ts i post a atolo g , a d also the de isi e ole that a isi desig pla s i uildi g i fe e es. Be ause, as e io ed a o e, the o l essage atested to e ele a t is that hi h has a efe t o the add essee s og ii e e i o e t.254 A o di g to “pe e a d Wilso , this efe t ould lead to the adopio of e assu pio s; the a a do e t of old assu pio s i fa o of the assu pio s just o u i ated; the st e gthe i g of old
� E��� R����� Subversive Realitäten. Tsai Ming-Liang und seine Filme� �������� ���� �. �1. 253 De Luca, Tiago Magalhães Realisms of the Senses. Tendency in Contemporary World Cinema, University of ������ �11� �v������ �� htp://etheses. hite ose.a .uk/ / (accessed May 2013), p. 147, 154. �4 D�� S������� D����� W����� Relevance theory �� ������c� R. H��� & G������ W��� ����.� Handbook of Pragmatics, Oxford, 2004, �v������� �� htp:// .da .spe e .f /?p= (Accessed 14.07.2013). II. Case Studies - 1. Goodbye, Dragon Inn �8 assu pio s; o the eake i g of old assu pio s.255
. .a Tella ilit , e epio alit a d stagi g
Fi st of all, hat is o ious f o the des ipio of Goodbye, Dragon Inn is the uesio of the il ake de idi g hi h a i iies a e o th telli g. I a ai e theo this issue has ee app oa hed u de the o ept of tella ilit . Ma ie-Lau e ‘ a dei es it as a ualit that akes sto ies i he e tl o th telli g, i depe de tl of thei te tualisaio . 256 As ‘ a poi ts out, this ea s that sto ies e ist i a i tual state i the i d of the sto telle efo e the a e tu ed i to te ts.257 As al ead uoted, Tsai Mi g-Lia g e plai s that he a ts to sho thi gs that a e t ue. But the a io s he p efe s to il – su h as u i ai g i the la ato o goi g f o poi t A to poi t B – a tuall elo g to the eal of ot-tella le o u a ata le. I lassi a ai es su h e e ts ould e let out, e ause the a e o side ed too dull to e e io ed.258 ‘ a lea es the p eo upaio ith su h u a ata le e e ts to the eal of high lite atu e,259 hi h is the e ui ale t of slo i e a.
I a ase, i te s of a ai e theo the u i ai g a d ai less a de i g ote ight e ep oa hed i la ki g e epio alit . I fa t, e epio alit has ee listed as o e of the atego ies that e a le e e ful ess. A o di g to Hüh , tella ilit a d a ai it depe d o e e ful ess.260 Ho e e , Hüh also ad its that hat is ega ded as a e e t ill e assessed taki g i to a ou t su h o te tual fa to s as ge e, ultu e, so ial g oup, histo i al pe iod a d autho .261 O , as Wolf “ h id puts it, the o ept of e e ful ess hi h ha a te izes the pa i ula epo h .262 As e io ed, Tsai elo gs to the t adiio of a t i e a hi h hooses sto ies that ould ot e ei e a ate io i ai st ea i e a. Vie e s ho a e fa ilia ith this i e ai t adiio ould ot o de a out Tsai s hoi e of sto ies. Ho e e , this stud ega ds a othe aspe t as o e i po ta t - a el , the deg ee of a ai it of su h u da e a i iies. What is at stake he e is hat a ai e theo ists dis uss as the o ept of ha ge. A o di g to B a iga , e usuall p esuppose that e e t A i a il ill ield to the o se ue e B i the sa e il , e ause e atest ausalit to e e ts sho i il s g ou ded
255 D�� S������� D����� W����� Relevance theory �� ������c� R. H��� & G������ W��� ����.� Handbook of Pragmatics, Oxford, 2004, �v������� �� htp:// .da .spe e .f /?p= (Accessed 14.07.2013). �6 ����������� R��� Tellability in David Herman, Manfred Jahn, and Marie-Laure Ryan (eds.) Routledge Encyclopedia of Narrative Theory� ������� ���� �. �8�. �� I���.� �. �8�. �8 R���� W����� The Unnarratable in David Herman, Manfred Jahn, and Marie-Laure Ryan (eds.) Routledge Encyclopedia of Narrative Theory, London, 2005, p. 623. �� ����������� R��� Tellability in David Herman, Manfred Jahn, and Marie-Laure Ryan (eds.) Routledge Encyclopedia of Narrative Theory� ������� ���� �. ���. 6� P���� Hü�� Functions and Forms of Eventfulness in Narrative Fiction �� J��� P���� Á���� G��c�� ����� ����.� Theorizing Narrativity� B������ �11� �. 14�. 61 I���.� �. 148. 262 Wolf Schmid Narrativity and Eventfulness �� ��� K����� H����H����� �ü���� ����.� What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 25. II. Case Studies - 1. Goodbye, Dragon Inn �� i ou i e a e pe ie e a d ou so ial i te a io s.263 Ho e e , i the ase of Goodbye, Dragon Inn e a ot al a s easil ake out the ausal o e io s et ee the e e ts. The ase e a ple he e is the stagi g of the a ai e the e of the ashie s lo e to a ds the p oje io ist, hi h is a o e ea hi g sto i the il . Fo a i ate i e ie e this sto li e a e ai u oi ed u il the e e d of the il he e it ess the ashie sp i g o the p oje io ist losi g do the i e a. It is so, e ause as the s ol fo he u e uited lo e Tsai has hose a stea ed u . At the egi i g of the il it is ooked, the ashie aps it i a d a ies th ough the i e a s la i thi e o ido s a d stai s u il she ea hes the p oje io oo . But the e a e o lose-ups of the u , hi h ould u de s o e its ea i g fo the sto . All the s e es ith the u a e il ed i lo g shots, hi h akes the oi i g of this i po ta t detail ha d o k. Thus, the ha dli g of this the e e e pliies the fa t that fo a dei iio of a ai e, ausal elaio ships a e de isi e, a d, i the ase of isual t a k, a e ot e pli it. E e o e, as ‘ a ightl otes, i isual a ai e the ausal elaio ships et ee shots ha e to e i fe ed the ie e .264
The uesio of ele a e a the efo e e posed agai . Na el , if the e is a the e, it is i te ded to e oi ed. But, if it is ea t to fu the de elop the sto li e o u e uited lo e, it is ha dl oi ea le du i g the i st ie i g of the il . Thus, ight e o lude that addiio al ie i gs of a il e e i te ded the il ake ?
As all the shots depi i g this sto a e la ge s ale, the stea ed u i the ha ds of the ashie a e ai u oi ed. The ie e i stead sees o l the ashie s e dless a d slo a de i gs th ough the i e a, hi h ould see totall ai less. Thus, the e e ful ess of a e e t is losel o e ted to the stagi g st ategies of the di e to .
T o o ludi g e a ks o the stea ed u ha e to e ade. Fi st of all, Tsai s hoi e to ake su h a i detail a etapho fo a lo e sto also dife e iates hi f o ai st ea i e a. “e o dl , to stage su h a i po ta t su je t a tuall hidi g it so e he e i the lo g shot so that it is o pletel up to the audie e to oi e this detail a d, o se ue tl , the sto li e o e ted ith it, i di ates just ho u h o ide e Tsai has i his audie e. I te s of ‘ele a e theo - i this ase the eak a ai it has a tuall ee uilt i the il ake hi self. Thus, e a ot de la e dei itel that the il ake is o l espo si le fo st o g e pli atu es a d i pli atu es, he eas the espo si ilit fo eak i pli atu es elies o pletel o the e ei e . The di ided espo si ilit fo st o g a d eak i pli atu es is o iousl u h o e ua ed, as a k o ledged the ‘ele a e theo .
A d se o dl : the e og iio of the stea ed u is ultu e-spe ii k o ledge, e ause fo
263 Edward Branigan Towards a Pragmatics of Narrative �� Jü���� �ü���� ���.� Towards a Pragmatics of the Audiovisual. V��. � ��������� 1���� �. 48. 64 ����������� R��� On the theoretical Foundations of Transmedial Narratology �� J�� C�������� ������� ���.� Narratology beyond Literary Criticism. Mediality, Disciplinarity� B������ ���� �. 1�. II. Case Studies - 1. Goodbye, Dragon Inn 6� so eo e ithout e pe ise i Tai a ese uisi e it e ai s u lea u il fu the eadi g o the dife e t pa ate ts i the il . The lai he ei is that ot o l a ate i e ie i g ode, ut also k o ledge i Tai a ese ultu e is eeded i o de to u de sta d this sto li e. Thus, although i il studies e usuall speak a out the u i e sal atu e of i ages – su el , ost people ould ag ee o the ide a ge of hat is ep ese ted. F o the poi t of ie of og ii e s ie es, ho e e , su h og ii e ele e ts as e odi g of the dis ou se, le els of ela o ai e thought, i fe e e, i agi aio , a d app aisal a e a ate of ultu al pa i ula it . As de o st ated a o e, e a all ag ee oadl o hat Goodbye, Dragon Inn is a out, ut i o de to u de sta d all the details a d the autho s i pli aio s, spe ii , ultu all oded k o ledge is e ui ed.265
. . E e ful ess, duraio a d e oio
I the i t odu io a opi io as e p essed that i this ki d of il e ha e to take i to a ou t the fa t that dife e t e e ts a ha e dife e t deg ees of a ai it – Pete Hüh a es it e e ful ess. Dife e t deg ees of e e ful ess a e assessed th ough the follo i g list of ite ia. T o a solute p e o diio s of e e ful ess a e ealit a d esultai it .266 O iousl , the e e ts taki g pla e ithi the i io al o ld of Goodbye, Dragon Inn are real ithi its li its a d ha e a esult. Also, i e othe g adaio al ite ia listed “ h id a e o e o less atested to the sto o ld ofGoodbye, Dragon Inn: ele a e, u p edi ta ilit , pe siste e, i e e si ilit a d o -ite ai it .267 But this stud ould sill like to d a ate io to t o fa to s – that of esultai it a d of u p edi ta ilit .
“ h id o ludes that e a speak of esultai it he the ha ge of state that o situtes a e e t is eithe i hoai e egu o o ai e ate pted o du ai e o i ed to a o goi g p o ess . ‘athe , it ust e esultai e i that it ea hes o pleio i the a ai e o ld of the te t. 268
As st essed agai a d agai du i g the des ipio of the e e ts i the il , a lot of a i iies a e sho i thei e i e du aio , sta i g ith the fa t that the il Goodbye, Dragon Inn oi ides o e o less ith the p oje io i e of the il Dragon Gate Inn. Also, the ashie s a de i gs th ough the i e a see to e sho i thei e i et . The lai he ei is that su h a app oa h to the stagi g of a a i it also di i ishes the deg ee of a ai it of a e e t. B o pa iso , i a ai st ea il e usuall see ho a ha a te depa ts f o poi t A, a d the o es a ut to the e t shot he e e it ess the ha a te a i i g at the poi t
6� P����ck C��� H���� Affective Narratology: The Emotional Structure of Stories� ���c��� ��� ������� �11� p. 103. 266 Wolf Schmid Narrativity and Eventfulness �� ��� K����� H����H����� �ü���� ����.� What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 24. 267 Ibid., p. 24 – 29. 268 Ibid., p. 24 II. Case Studies - 1. Goodbye, Dragon Inn 61 B.
Thus, the du aio ote i the fo of a lo g take is the e e of st o g a ai it . But if these takes depi i g the hole p o ess of ho so ethi g happe s e e plif eak a ai it , the hat happe s ith the te ps ort post-a io lag shots? The o e io al li e of thought ould e that i su h o e ts the a ai e o es to a halt as dei ed Chat a 269. But this stud lai s that i su h ases the afe i e di e sio also has to e take i to a ou t. A pa i ula e a ple is the lo g shot of the e pt i e a hall hi h lasts fo a out th ee i utes ate the s ee i g of Dragon Gate Inn has e ded. I this pa t of the episode ot o l othi g happe s, ut it depi ts a o pletel e pt oo ith o dis e a le ha ges. But, ithi the o e all sto of the de li e of a fo e l p esigious i e a, a e oio al peak is ea hed at this o e t. Although a il al a s ope ates o t o le els – the ua itai e a d the afe i e- oi aio al –270, this episode is the est e a ple of a eed fo o e tha og ii e a iliies i o de to o p ehe d a sto .
Although the ‘ele a e theo has ee ii ized fo ot a k o ledgi g the i po ta e of afe i e espo ses i the o p ehe sio p o edu e, the a k doo of the ‘ele a e theo that pe its the i o po aio of this aspe t is the oio of poei efe t. Poei efe t is the efe t ge e ated the ute a es hi h a hie e ost of its ele a e th ough a ide a a of eak i pli atu es 271 a d su h ute a es eate … se se of appa e tl afe i e athe tha og ii e utualit 272. The poei efe ts eate o o i p essio athe tha o o k o ledge .273 As lite al s hola Ad ia Pilki gto has a gued, the afe i e di e sio is e t al to hat is e p essed a d o u i ated ia poei efe ts. 274 His thesis goes alo g ith the suggesio of Nigel Fa that afe i e utualit ight fo the asis of a o e ge e al a ou t of the aesthei e pe ie e.275
I des i i g su h phe o e a as e oio al espo ses, e aluai e aitudes, i p essio s of i te sit , p ofu dit , su li it , a a e ess of epipha ies, poei e pe ie e a d aesthei pleasu e, Fa suggests the use of the te ‘espo se ith a apital ‘ . 276 Fa goes o to e plai that ‘espo se is o posed of e tal elaio s athe tha e tal ep ese taio s. 277 E e o e, he a k o ledges that these e tal elaio s a ot e a i ulated, thus posi g a
6� S������ C������ Story and Discourse: Narrative Structure in Fiction and Film� I���c�� 1��8� �. 4. �� ������ G����� Emotions, Cognitions, and Narrative Patterns in Film �� C��� P��������� G��� �. S���� ����.� Passionate Views: Film, Cognition, and Emotion� B��������� 1���� �.18. �1 D�� S������� D����� W����� Relevance. Communication and Cognition� 2ed edition, Oxford, 1995, p. 222. � I���.� �. 4. 273 Ibid., p. 224. �4 A����� P��k������ Poetic Effects: A Relevance Theory Perspective � A��������� ���� �. 1�1. �� A����� P��k������ Poetic Effects: A Relevance Theory Perspective � A��������� ���� �. 16�. �6 N���� F��� The Density of Response: A Problem for Literary Criticism and Cognitive Science �� J.P���� & J.W������� ����.� Linguistic Approaches to Literature. Papers in Literary Stylistics� B���������� 1���� �. 144. �� N���� F��� The Density of Response: A Problem for Literary Criticism and Cognitive Science �� J.P���� & J.W������� ����.� Linguistic Approaches to Literature. Papers in Literary Stylistics� B���������� 1���� �. 1��.. II. Case Studies - 1. Goodbye, Dragon Inn 6 p o le fo lite a ii is .278
I a ase, the o ept of ‘espo se ofe ed Fa fa ilitates to e o pass the e oio al a d afe i e di e sio s279 of i e ai e pe ie e. O iousl , all il s a e desig ed to eli it pa i ula e oio s.280 U il o i this ase stud the o e as o l ith the og ii e p o esses i ol ed i il o p ehe sio , e ause it foste s the a al sis of the a t st u tu e of the il . Ho e e , as Pla i ga ightl e a ks, afe i e e pe ie e a d ea i g al a s i l i te t i e281 a d the episode ith the e pt i e a hall akes the i gi g i of the il theo of e oio s i e ita le, although this e pa a ete ill o pli ate this stud to a e tai e te t.
. . Arresi g i age, redei ed
To o lude the dis ussio of the episode ith the e pt i e a hall - a efe e e to the oio of the a esi g i age as de eloped Ba a a Kli ge . These a e shots ith st iki g isuals that stop o slo do the fo a d oio of the a ai e, a d allo the spe ta le to full aptu e the ate io of the audie e.282 I the ase of slo i e a it ould e a e agge aio to speak a out isuall a ishi g i ages. I stead, the isual st le of ot o l Goodbye, Dragon Inn, ut also of ost othe slo i e a ep ese tai es is ha a te ized as f ugall ough-edged ,283 ea hi g e e total isual auste it . Thus, the oio of a a esi g i age has to e e o side ed i elaio to slo i e a. But the fa ult of a a esi g i age, hi h is also t ue fo slo i e a, is its a ilit to fo the fo al poi t fo e oio s, although it does ot p o ide su e esoluio o atha sis.284 This stud a o u ith he state e t that: The a t il s a esi g i age deli e s the ki d of e pe ie e su h audie es e pe t f o a fo that t ies to ise a o e ass ultu e: it e poses the to a i te se pe eptual o e t ot i ediatel o p ehe si le i te s of a ai e fu io o the e, et oddl tou hi g o e oio all o pelli g.285
This pa i ula episode e e pliies that e oio all lade episodes ith o lea a ai e
�8 N���� F��� The Density of Response: A Problem for Literary Criticism and Cognitive Science �� J.P���� & J.W������� ����.� Linguistic Approaches to Literature. Papers in Literary Stylistics� B���������� 1���� �. 1��. 279 In making this distinction I follow Carl Plantinga who deideines nes an emotion as intentional mental statestate or “concern-based construal” and affecting bodily states. See Carl Plantinga Moving Viewers: American Film and the Spectator´s Experience� B��k����� ���� �. �4� ��. 8� C��� P�������� Moving Viewers: American Film and the Spectator´s Experience� B��k����� ���� �. ��. 81 C��� P�������� Moving Viewers: American Film and the Spectator´s Experience, Berkeley, 2009, p. 3. 8 B������ K������ The art ilm, affect and the female viewer: ��� P���� revised �� Screen 4�:1� S����� ��6� �. 4. 283 Jonathan Romney In Search of Lost Time �� Sight & Sound, February 2010, p. 43. 84 B������ K������ The art ilm, affect and the female viewer: ��� P���� revised �� Screen 4�:1� S����� ��6� �. 4. 8� B������ K������ The art ilm, affect and the female viewer: ��� P���� revised �� Screen 4�:1� S����� ��6� �. 30. II. Case Studies - 1. Goodbye, Dragon Inn 63 ea i g – episodes ith e eak a ai it – a sill ha e a efe t o the og ii e e i o e t of the ie e e ause of thei e oio al o te t, a d thus e a allo ate ele a e to it. But i oi g that the ie e is espo si le fo the ea io s eli ited eak a ai e o e ts, e a ot p edi t he e hi h pa i ula e oio s this episode eli its. It ould e uite a ide a ge, ea hi g f o sad ess a out the o diio of the i e a as a a t fo to total o edo , e ause othi g happe s o s ee . A o e p ofou d i sight o slo i e a a d e oio s ill e gi e i the hapte a out the il Blissfull Yours, ut fo the i e ei g it has to e oted that the ge e aio of e oio al espo ses to a il is ot al a s losel ied to ha a te de elop e t a d the ea hi g of his goals. This i di g deli e s a othe p oof fo i e a s hola Ca l Pla i ga, ho holds that the o e all a ai e o ga izaio of a il is a ou ta le fo eli ii g e oio s, ot just the ai ha a te s of the il .286
. .d A tops -tur of ker els a d satellites
A othe o se aio ade f o Goodbye, Dragon Inn has to e dis ussed e pli itl . Na el , that Tsai ote does ot p io iize the e e ts a o di g to thei ele a e fo the a ai e. “e ou Chat a p oposes to app oa h this issue dei i g ke els a d satellites. A o di g to the logi of lassi a ai e, ke els a e ajo e e ts that a e pa t of the hai o a atu e of o i ge .287 A satellite is a i o plot e e t that a e deleted ithout dest o i g the logi of the plot.288 In Goodbye, Dragon Inn this a ai e hie a h a ot e dis o e ed ight a a – fo e a ple, it takes se e al e ate i e il ie i gs u il o e ealizes that the il s plot a tuall o sists of i e the es, a d o l the the ight ke els a e sepa ated f o the satellites.
O e agai , etu i g to the e a ple of the stea ed u , ut o t asi g it to the episode he the Japa ese tou ist, te iied the o a a ki g uts, u s out of the i e a. The se o d o e is a uite o ious e e t of a highe deg ee of a ai it - ot o l ithout e e da e pe ie e ould e all e af aid of ghosts, ut also, i o pa iso to the stea ed u , this the e is desig ed ith u h o e e pli it ess. The e a e lose-ups a d ediu shots of the Japa ese a i o de fo us to it ess his ea io s a d g o i g despai .
E e o e e pli it tha shot se ue es desig ed to t a spo t e e pli it essage, the e al i fo aio hi h a o pa ies this the e deli e s e e o e la it . Although e al o u i aio is e a e i this il , ut, he it o es, it lea l se es as a tu i g poi t o i di ates o fa ilitates the tu i g poi t. These a e, fo e a ple, the se te es he e it is
86 C��� P�������� Moving Viewers: American Film and the Spectator´s Experience� B��k����� ���� �. 88� 1��. 8� S������ C������ Story and Discourse: Narrative Structure in Fiction and Film, Ithaca, 1978, p. 53. 88 I���.� �. �4. II. Case Studies - 1. Goodbye, Dragon Inn 64 stated that the i e a is hau ted a d that o od goes to the i e a a o e. Clea l , e al ute a es a e ote o e e pli it tha isual o es. But sill, if o l e al ute a es ould possess e pli it ess a d ould ge e ate e pli atu es, the , as Fo e ille ightl e a ks, o isual e ide e i do u e ta il as ell as i ou t ould e possi le.289
The ela o aio o the dife e t deg ees of a ai it i the il Goodbye, Dragon Inn is also a pa i ula l good e a ple fo “pe e a d Wilso s thesis that “t lisi dife e es a e just dife e es i the a ele a e is a hie ed. 290 The a i hi h Tsai deli e s ute a es to the ie e s – o fusi g the ke els ith satellites, hidi g i po ta t sto details i lo g shots, e phasizi g the i po ta e of the a kg ou d i fo aio fo the u de sta di g of the sto – ge e ates his sig atu e.
1. . Chara ters i the il
I the i t odu to hapte a posiio as e p essed that the o ept of the ha a te i a sto a di e tl i lue e the deg ee of a ai it . I Goodbye, Dragon Inn e e ou te o ou ded ha a te s that fa ilitate the ide ii aio p o ess, hi h is the asis of ou e pe ie e ith a ai e il s. 291 I stead, e e pe ie e the ha a te s o l f o the dista e a d o l th ough thei deeds, e seldo th ough dialogues. Although, ate epeated ie i gs, it is possi le to state the goals a d oi aio fo thei a io s, the o pletel dife f o those of ai st ea i e a. No od has to sa e the o ld i these slo il s. O the o t a , e e si gle s all a d o di a a i it is o th sho i g, although f o i st gla e the ai a e ai u lea .
I the ase of Goodbye, Dragon Inn, the e is o l o e ha a te p ese t du i g the hole il – the ashie . He p ese e alo e ies all the dife e t sto li es togethe , as she t a els th ough the i e a du i g the il s ee i g. But e do ot a ui e a i fo aio a out he . We ight o lude that she is i lo e ith the p oje io ist f o the last shot of the il as e see he sta i g at hi . O l ate seei g this last s e e of the il , the hole sto li e of he u e uited lo e o es to the fo e. Na el , the s e e at the egi i g of the il he e the ashie pi ks up a stea ed u a d i gs a pa t of it i to the p oje io ist s oo a ui es e sig ii a e. The a ai e o st u io of this the e de o st ates ho i i alisi a sto li e i slo i e a il a e. Tsai uses just th ee episodes th oughout the hole il i ute , i utes - a d i ute il ed usi g the lo g shot. To follo the sto li e, the ie e has to s a the shot ei ulousl a d e a a e that e e a i it i the shot ould
8� C������ F��c�v���� Relevance Theory as a model for analyzing visual and multimodal communication �� D�v�� ��c��� ���.� Visual Communication [to be published in 2014]. Draft available at htp:// uldis . o dp ess. o / / / / ele a e-theo -as- odel-fo -a al zi g- isual-a d- uli odal- o u i aio / (Accessed 1.10.2013). �� D�� S������� D����� W����� Relevance. Communication and Cognition, �� �������, Oxford, 1���� �. 4. �1 ������ S���� Engaging Characters: Fiction, Emotion, and the Cinema, Oxford, 1995, p. 1. II. Case Studies - 1. Goodbye, Dragon Inn 6� lead to a sto li e, hi h ould e de eloped fu the o l ate a lo g st et h of il .
The se o d igu e that appea s th oughout t o-thi ds of the il is the Japa ese tou ist. His goals e ai u lea . I fa t, he t ies to esta lish o ta t ith othe audie e e e s i the old i e a, ut hethe he ishes a se ual e ou te is u e tai . With his ai less alki g th ough the i e a he o e ts ith othe igu es i Tsai s il s.
Ho e e , fo a i e a-edu ated ie e it a e o e lea du i g the i st half of the il that this a is o e of the p i ipal ha a te s of the il , e ause he is depi ted uite ote .
The a to Miao Tia fu io s o t o le els. As a i io al ha a te he is a ghost f o othe il s of Tsai, ut at the sa e i e he ep ese ts hi self as a a to f o the glo ious da s of the u ia il s, a d as su h a efe e e poi t fo Tai a ese il histo .
A to Chu “hih a tuall pla s hi self a d fu io s e el as a s ol of the old i e a that o od at hes a o e. But, as al ead u de li ed a o e, this ha a te s fu io a e ai a ste fo the audie e ith o addiio al k o ledge of Tai a ese i e a.
The p oje io ist appea s o l at i ute of the il , a d e get o o e i fo aio a out hi . He loses the i e a a d lea es, so the audie e a o l guess that he has o lo e i te est i the ashie . Clea l , ith the i t odu io of the p oje io ist the sto goes i a e di e io . No he a d his u da e a io s at the e d of his last o ki g da a e at the e t e of the sto .
Ca l Pla i ga dis e s et ee s pathei a d dista ed a ai es. The i st ki d of this a ai e dis ou se suggests lose ess to e t al ha a te s a d the ie e is i ited to espo d ostl ith s path fo the .292 O the o t a , dista ed a ai es a oid su h lose ess. I stead the fa ou a o e dista ed, ii al, so ei es hu o ous, a d e e i al pe spe i e a d o e that e ou ages ii al judg e t.293 As Goodbye, Dragon Inn displa s its ha a te s th ough eai g deta h e t i the audie e, this il also elo gs to the dista ed a ai es atego . E e o e, as o st o g o ds a e uilt et ee the ha a te s a d the audie e, this is a ase e a ple fo Pla i ga, ho holds that the o e all desig of the il s a ai e is a ou ta le fo eli ii g e oio s athe tha the la k of espo se to a pa i ula ha a te .294
As al ead e io ed, K isi Tho pso takes the ha a te s goals as a heu isi tool fo dete i g the tu i g poi ts a d fo ide if i g the a ts of the il . As de o st ated a o e, the goals of the igu es i this slo i e a e a ple a e ai egle ted; the efo e it is t possi le to use the as heu isi tools. I stead, the o ept of tu i g poi ts as a u usual
� C��� P�������� Moving Viewers: American Film and the Spectator´s Experience� B��k����� ���� �. 1���1�1. 293 Ibid., p. 171, 191. �4 C��� P�������� Moving Viewers: American Film and the Spectator´s Experience� B��k����� ���� �. 1��. II. Case Studies - 1. Goodbye, Dragon Inn 66 e e t i the sto li e see s o e app op iate fo il s that ep ese t slo a aio .
1.9. Act schemata in Goodbye, Dragon Inn
At the egi i g of the a al sis a goal as set to e plo e hethe so e ki d of a t st u tu e a e t a ed i slo i e a. The a al sis of the deg ee of a ai it i the il Goodbye, Dragon Inn leads to the follo i g o lusio s.
As i di ated a o e, the a ai e of Goodbye, Dragon Inn o sists of i e pa ts. The setup is u usuall lo g, ut it see s to e ha a te isi of slo i e a, a d a e e plai ed ith the slo a ai e pa e of the il . It is follo ed a o pli ai g a io , a de elop e t, a li a , a d a losi g ith a epilogue.
I the setup the ai sto li es a e esta lished – it is the u happ lo e of the ashie to a ds the p oje io ist hi h lasts fo the hole il . As a e o luded f o the e pli atu es a d i pli atu es, ea h of the e ai i g fou pa ts of the sto a e de oted to a othe the e: that of the i e a as a pla e fo ho ose ual e ou te s o pli ai g a io , that of the hau ted i e a de elop e t , that of the i e a as a i e go e li a , a d that of the losi g do of the i e a the p oje io ist epilogue . I ai st ea i e a all of the sto ies the es de eloped i the il ould e p ese t th oughout the il , ut i Goodbye, Dragon Inn, the o e up i tu s. Ate dis o e i g that the il s plot is a tuall uilt o se e al the es, it e o es lea e he e to look fo the a t eaks, a d he e tu i g poi ts a e lo ated.
As stated i the i t odu io , e e ts i slo i e a a e alled e e ts he thei e e ful ess is a ifested o the dis ou se le el. I the ase of Goodbye, Dragon Inn, so e of the a t eaks a e aused tu i g poi ts that tu out to e o the dis ou se le el, a d ot a o di g to sto de elop e t.
This is the ase i the i st episode i the il , at the e d of the setup. It is the o tage se ue e et ee the lose-up of the ashie a d the shots f o the Tai a ese i e a lassi Dragon Gate Inn. The lo aio of the ashie is u lea , it see s that she is sta di g ehi d the s ee a d looki g up. The d a ai usi f o Dragon Gate Inn, full of te sio , u de s o es this shot- e e se-shot se ue e. This se ue e sta ds out f o the hole il , e ause the ui g st le a d the usi eate te sio , hi h has ot ee uilt up a of the p e ious shots as ould eit a Holl ood il . I ai st ea il , this d a ai te sio ould also e jusiied as a tu i g poi t of the sto . Fo the a ai e pate of this pa i ula il , this se ue e sta ds out a d e e looks pe ulia . The ie e has to o st u t a ea i g fo it that ould eithe jusif the d a ai te sio a o di g to the s he ata of ealis o i te p et it as a autho s o e t. O e ight thi k, this se ue e leads to e de elop e ts o e eals II. Case Studies - 1. Goodbye, Dragon Inn 6� so e e i fo aio , ut this is ot the ase. “t lisi all it is a tu i g poi t, e ause it dife s f o the est of the il i te s of its a isi desig shot- e e se-shot . The ui g pate , sho t a d fast, is si ila to that of Dragon Gate Inn, ut fo Goodbye, Dragon Inn, it is e st a ge a d fo s a o t ast to the est of the il . O the le el of the a ai e, it i t odu es o shit i the sto li es. “o it is just a st lisi al tu i g poi t a d a lea e a ple that i slo i e a, a tu i g poi t a also e dei ed ith o o e io s to ha a te de elop e t o goals. Th ough its u usual st le this se ue e se es to ake the ie e f o letha g o i e sio , a d to e e i te est i the il .
Ate uliple ie i gs it e o es lea that this se ue e loses the setup, e ause ea h of the e t th ee pa ts of the il a e dedi ated to a othe the e, ith the sto li e of the ashie o u i g th oughout the il .
Co e sel , the tu i g poi t i the o pli ai g a io that p e edes a i se ted a t eak is a episode ith a e i po ta t e al ute a e. Na el , the dialogue et ee the Japa ese a a d the s oki g a at i ute of the il . The s oki g a asks the Japa ese a if he k o s that this i e a is hau ted ghosts, a d the Japa ese a o fesses his aio alit . This dialogue has se e al fu io s. O o e ha d, it ha ges the il ith a e ea i g, hi h as ot o ious f o p e ious shots – that the i e a is hau ted. This asts a e light o all the p e ious s e es, e ause it akes the ie e feel i se u e a out the ea lie episodes. What as eal a d hat as hau ted? It uilds a tu i g poi t of the sto . This dialogue o es al ost p e isel at the id a poi t of the il a d di ides it i to t o pa ts i ute out of i utes . I this ase the st u tu e Goodbye,of Dragon Inn, ith the tu i g poi t of the o pli ai g a io at the id a of the il , o espo ds to the Holl ood odels a al sed K isi Tho pso . “he states that at the iddle of the il is a e t all lo ated tu i g poi t, hi h is as e ual as the othe tu i g poi ts.295
I a ase, the o pli ai g a io ofGoodbye, Dragon Inn also e e pliies K isi Tho pso s state e t that this pa t of the il se es as a so t of ou te -setup, uildi g a hole e situaio ith hi h the p otago ist ust ope. 296 I this ase – the o fessio a out the hau i g gi es the sto a e t ist.
The de elop e t is the a t i the il that e e pliies the the e of the hau ted i e a, hi h as ought up at the e d of the p e ious a t. A tuall , the de elop e t o sists of o l o e episode, he e e at h ho the Japa ese a e o es o e a d o e te iied the lad a ki g uts i the i e a – the episode lasts fo app o i atel se e i utes. He e, i slo i e a e a ot speak of a ts ha i g app o i atel the sa e a ge of le gth. The pla e e t of this a t eaks see s jusiia le e ause, as the Japa ese a lea es the i e a, he lea es ot o l the uildi g, ut also the sto o ld. Thus, this sto li e e ei es
�� K������ �������� Storytelling in the New Hollywood. Understanding Classical Narrative Technique � Cambridge, Mass., 1999. p. 31. �6 I���.� �. 8. II. Case Studies - 1. Goodbye, Dragon Inn 68 losu e.
I the li a , the tu i g poi t egi s a d takes so e i e to uild up. This is a lea e a ple of K isi Tho pso oi g that the tu i g poi t a also last fo uite a st et h of i e. I this a t e see t o olde e at hi g the il Dragon Gate Inn a d, ate the il has e ded, e it ess the e pt i e a hall a d the eei g of oth e i f o t of the i e a e t a e. Taki g i to a ou t ou i e a-goi g e pe ie e a d the o te tual i fo aio a out Tai a ese i e a histo , the sto li e of the i e a s glo ious da s go e o e to losu e, as e e pliied, fo e a ple, the isual ju taposiio . Whe the il ega e sa a i e a full of ie e s, ut at the e d of the il it s e pt . It is a isual etapho fo the state of i e a – people used to go to the i e a, ut toda il s pla o s ee ith o ie e s i the audito iu . The dialogue et ee the fo e i e a sta s u de li es this ha ge – o o e o es to the o ies a d o o e e e e s the . This li e spoke the a to i gs this the e to a e d. But this pa t is follo ed a epilogue. It is uite le gth a d a tuall o e s a e the e the losi g do of the i e a a d i gs i a e ha a te the p oje io ist , a d fo this stud s pu poses it dese es to e t eated as a sepa ate a t.
At the o e t he the ashie o es out of the da k ess to it ess the p oje io ist lea i g a d the elod a ai so g sta ts, the lo e sto a ui es losu e a d the il ea hes the e d hi h, as H. Po te A ot ightl e a ks, do ot ha e to oi ide.297 . This s e e a s e s the i al uesio of the il – hat as the ashie s sto – a d the o a i usi u de li es the at osphe e of u fulilled lo e. Thus, e as audie e o lude that the il has o e to a e d e e efo e the losi g itles sta t to oll.
Goodbye, Dragon Inn de o st ates that the oio of tu i g poi ts as used Tho pso has to e edei ed. Aesthei de i es lose-ups, le gth of the shot that o side a l dife i thei use f o the est of the il also fu io as a so t of ga e- ha ge s, a d sepa ate the a ts. E e o e, ith this e u de sta di g of tu i g poi ts, the e should t e a issue i ega ds to pui g a t eaks i totall a it a pla es. This out o e f o the a al sis of Goodbye Dragon Inn fuels i te est i hethe this e dei iio holds t ue i othe ase studies i the hapte s to o e.
�� H. P����� A����� Closure in David Herman, Manfred Jahn, and Marie-Laure Ryan (eds.) Routledge Encyclopedia of Narrative Theory� ������� ���� �. 6�� 66. II. Case Studies - 2. Liverpool 69 2. Liverpool dir. Lisa dro Alo so, Arge i a, – prese e as a efe t of i i alis
The il sele ted fo the se o d ase stud is Liverpool the A ge i ia il ake Lisa d o Alo so, ho has ee p ized as o e of the ost a o plished a d o igi al o te po a il ake s f o Lai A e i a.298 He ade his de ut il La Libertad i , a d Liverpool is his fou th of i e featu e le gth il s. His a e is o e of the ost f e ue tl e io ed i ega ds to slo i e a. No o de , e ause the sto ies he hooses to tell a e spa se a ai es f a ed ai l i lo g shots of e te ded du aio . At the sa e i e his u i ue i e ai isio a also e su su ed u de i i alis a d, as ill e sho , the e is o o t adi io et ee slo i e a a d i i alis . “lo i e a a e e e ega ded as a u ella te fo dife e t a isi app oa hes. Fo e a ple, the ase studies of the il s The Turin Horse a d Fallen ill e dedi ated to the pa a et i ode of i e a a aio .
This hapte ill put fo a d the a gu e t that i i alis is a a isi app oa h dei ed the o epts of tella ilit a d a ai it , a d ate pt to a al se the il Liverpool as a pa i ula ase i poi t.
The hapte is st u tu ed as follo s: the histo of the oio of i i alis a d the si ila iies et ee slo i e a a d i i alis , follo ed a des ipio of the st u tu e Liverpoolof i its du aio . The se o d pa t of the hapte is a a al sis of the il alo g the li es of o epts su h as tella ilit , le els of a ai e, the do i a t a d the spe tato s e pe taio s. The e a i aio of these o epts ill e plai ho i i alis fu io s as app oa hed f o the poi t of ie of a ai e theo a d o p ehe sio , a d hat o se ue es it has fo the sea h fo ele a e of a e e t. The the i di gs a out the a t st u tu e of the il , hi h o i ue to suppo t the o se aio s ade du i g the a al sis of Goodbye, Dragon Inn, ill e looked at. Ho e e , o e i g the des ipio of the il ´s st u tu e, it is i po ta t to st ess that Liverpool does t o tai a o pli ai g a io , o l a set-up, a de elop e t, a li a a d uite a lo g epilogue. Liverpool o sists ai l of lo g shots that a e ote stai . “i ila l to Goodbye, Dragon Inn, ote a shot e uals a episode i this il .
This hapte ill o lude ith a dis ussio of the issue of p ese e - i slo il s othe st ategies of e pe ie i g a t a e also at o k, ot o l the spe tato ´s sea h fo ele a e o i te p etaio of a ute a e. Thus the e ill e a depa tu e f o pu e st u tu al a al sis of il ´s a ai e, hi h is a tuall the ai i te io he ei . Ho e e , as st essed i the i t odu to pa t of the p oje t, e e a isi de isio is ade i o de to a hie e e tai efe ts. As it ill e de o st ated, i Liverpool the eal of eak i pli atu es e o es so u p edi ta le that at e tai poi ts the plot gi es a to othe , o - a ai e st ategies i o de to fa ilitate the a isi e pe ie e.
298 No Man´s Land – The Cinema of Lisandro Alonso, Harvard Film Archive, htp://h l.ha a d.edu/hfa/ il s/ o tde /alo so.ht l (accessed 05.11.2013). II. Case Studies - 2. Liverpool 70 . . Mi i alis a d slo i e a
I o de to de o st ate the o se ue es of i i alis fo the p o ess of o i g to g ips ith slo i e a, this a isi app oa h ust i st e dei ed. As “a d a Be htel o se es i he ook a out i i alis i lite atu e a d il , uite dispa ate phe o e a a e su su ed u de this oio . Thus it is a dato to al a s spe if i hi h dis ipli e it is used. Ho e e , hat u ites the all is the e phasis o the esse ial a d, o se ue tl , as a e tai fo of a st a io .299 I ase of the i e a it is a aesthei app oa h fa ou i g lo g takes, es he i g of uts, oio less ha a te s a d i i al a io that all e a le de ele aio . Clea l these featu es a e e lose to the ha a te isi s of slo i e a, a d thus it is ot su p isi g that the efe t a hie ed o the ie e th ough i i alis as ell as slo i e a is the sa e – the f eedo of i agi aio . I looki g fo the histo i al oots of this app oa h i il histo , Be htel pa tl a es the sa e a ists of the a a t-ga de as Fla aga did i his sea h fo the a esto s of slo i e a. “he e io s ep ese tai es of st u tu al il su h as A d Wa hol, ut also e la ges the ield a i g dife e t ep ese tai es of the i te aio al a a t-ga de su h as “ l i a Boisso as F a e , Lutz Mo a tz Ge a , Ja es Be i g U“A , a o g othe s. “he also dis o e s a te de to a ds i i alis i a thouse i e a, a d puts Cha tal Ake a , Ale a de “oku o , F ed Kele e , Bela Ta a d “a u as Ba tas o he list. Be htel o pletes the list ith ep ese tai es of the so- alled Be li “ hool He e Wi kle , Ja K üge , A gela “ ha le , Ch isoph Ho hhäuse , Be ja i Heise e g, Ch isia Petzold a d Tho as A sla , a d the a ists o ki g fo the Aust ia p odu io o pa coop 99 Jessi a Haus e , Ba a a Al e t as e e s of this a isi te de i Ge a -speaki g ou t ies. This stud s posiio is that the e la gi g of the list of a es, as e p essed i the i t odu to hapte i ega ds to esta lishi g the oio of slo i e a, la iies less tha ight e e pe ted as the a isi app oa hes of these il ake s a e uite di e se. It see s athe that e should o l o k ith a e ge e al des ipio of i i alis as ofe ed ithi the th ee se te es a o e. “e o dl , it is o e useful to add ess a pa i ula e a ple a d s ui ize ho the i i alis o es a out i this pa i ula ase. Thus, o to the des ipio of the il Liverpool .
. . Des ripio of the il ´s stru ture
The setup (minutes 1 - 33)
A e da k shot ith t o seated e pla i g o pute ga es, ith a thi d i a hite t-shi t ehi d the , out of fo us. The thi d a sta ds up a d lea es. As e ill late get to k o , this thi d a is Fa el, the ai ha a te of the il .
299 �a�dra �erch�el Die Kunst der Reduktion. Minimalismus in Literatur und Film, �aarbrücke�, 2008, p. 6. 300 �bid., p. 31. 301 �bid., p. 33. 302 �bid., p. 38�39. II. Case Studies - 2. Liverpool 71 Cut to the e t episode - Fa el looks fo food i the up oa d. I the e t shot he is sill sea hi g fo so ethi g i a othe oo ; he i ds a pa kage of ilk ? a d sli es a sausage. I the e t shot he passes the up oa d.
Cut to a e s e e. T o e ha i s i a e gi e oo . O e tells the othe to he k the udde s oil le el at the ste . As the e ha i alks th ough the ship he dis o e s Fa el sleepi g et ee the pipes a d hases hi a a shots .
Fa el takes his oat f o the a d o e a d lea es. I the e t shot he pai ts a pie e of etal ith ed olou . As pe a olleague s suggesio , he goes to get so e ofee. Ne t shot is o the de k of a o tai e ship; Fa el o es out o to the de k a d looks o e the ail. O the idge; the aptai e te s. F o the sailo s e lea that the sill ha e se e hou s to sail ill Ushuaia. Fa el sits at the hel of the ship. He asks the aptai pe issio fo a sho e lea e at Ushuaia e ause he a ts to isit his elai es – he has t see his othe fo ea s, he does ´t e e k o if she is sill ali e i . of the il . Fa el also e io s that his othe li es e t to the sa ill. A e lo g shot of the a go ship saili g th ough the ate . The su is shi i g. Fa el i his a i . He puts o his o e alls a d his oat, sits o his ed, see s to e lost i thougth – these a i iies a e il ed i thei e i e du aio .
O the de k at ight. Fa el s okes, li ke i g lights f o the sho e out of fo us i the a kg ou d t o shots of Fa el f o dife e t a gles . Lo g shot of the ha ou . Cut to Fa el sill o de k, ut the ship is o i the ha ou . Fa el gathe s up so e pie es of etal f o the de k, ut this is ha dl dis e i le as the shot is e da k.
Cut to Fa el´s a i . He e te s ith a to el i ha d, see i gl ight f o the sho e . As he is ea i g a hite shi t, e a i fe that he is p epa i g to lea e. He pa ks his ag. He puts a otle of odka i his ag ate taki g a gulp f o it as the il de elops, this e o es a u i g gag . He also puts so ks i the ag a d do s a oat. The he looks a ou d as if to he k that he has t fo gote a thi g, s it hes of the light a d lea es.
O de k Fa el egiste s i a jou al a d lea es. I da k ess, Fa el heads do the stai s, a old i d is lo i g. I the e t shot he depa ts e e fu the f o the ship. F o o o the shots te d to e lo ge as the a io o the ship a d i ost episodes o sisted of t o shots. A a a do ed spot ehi d a house ith ga age st e a out o the s o . Fa el takes a s alle ag out of the igge o e a d epa ks. He also takes a gulp f o his odka otle. The he hides the ig ag ehi d so e oa ds a d heads of. The e t shot is a sho t o e depi i g Fa el sta di g o the st eet i the ight. Fa el eats at a ta le i a a tee ith a la ge ildlife u al depi i g autu oods ehi d hi . He takes a la desi e gulp f o his otle of odka a d also pou s so e i to his glass of ee .
I the i st shot e see t o spa sel d essed o e sii g at a a , ut the follo i g shot II. Case Studies - 2. Liverpool 72 suggests that this ould e Fa el s su je i e ie – he sits at a ta le a d at hes a st iptease pe fo a e that a e o se ed f o the shado s o the all.
The e t o i g, Fa el is asleep i a old, a a do ed us. A lose-up of hi fo a i ute a d a half as he akes up. A othe . i ute lo g shot as he s igs f o the odka otle, s okes a d looks th ough the i do . A pa o e the ha ou follo s Fa el passi g the o tai e s.
I the e t shot Fa el asks a t u ke if a t u k is goi g to Tolhui . The d i e suggests that so eo e at Pasto iza s ight e goi g i that di e io . Fa el also asks if the a to the sa ill is ope a d gets a posii e a s e .
Fa el a i es at the a tee . I the i st shot he a s his ha ds at the sto e i the o ido . I the e t o e he d i ks a up of ofee i the a tee . Me a e pla i g a ds; a gi l is also aii g fo the t u k. As e hea it a i i g, the gi l sta ds up a d lea es, Fa el follo s he . The episode lasts fo al ost fou i utes – a i ute fo the i st shot a d al ost th ee fo the se o d.
The gi l a d Fa el a i e at the lat ed t u k. The gi l sits i the a i ; Fa el li s o to the a k of the t u k a d sits do o so e logs. E epio all , this episode is il ed usi g a o i g a e a lo g shot . Fa el has o fou d t a spo taio that ot o l ill i g hi ho e, ut ill also a o the sto .
Development (minutes 33 - 48)
Cut to the e t shot – a ediu lo g shot - Fa el a d a othe a d i e th ough the i te la ds ape. The lo stops, the a li s of. As the ehi le sets i oio , the a e a ef a es the la ds ape. The la ds ape s e e ould e i te p eted as Fa el s su je i e ie , ut ate a i ute the a e a pa s to the let a d e dis o e Fa el sii g o the logs. He see s f oze , so he takes his odka otle out a d takes a gulp. The t ip lasts fo altogethe t o a d a half i utes.
Cut to a stai , e lo g shot of a i te la ds ape d aped i ate oo su . I the fa dista e, the lo app oa hes. As the ehi le ea hes the fo eg ou d of the f a e, it stops a d Fa el steps out of the a i . Cut to a othe pe spe i e, pa allel to the oad. He o es to the fo eg ou d a d a es so ethi g o to a de eli t foot all gate, f osted o e ith s o . O a e he is looki g fo a old e g a i g of his, ut this is just a i te p etaio ased o ou e pe ie es .
Fa el a i es at a usted-out o tai e . He stops a d d i ks f o his otle. The he o i ues his jou e a d e its o the let. Fa el a i es at a house, ut the goes a a . Cut to a a ho at hes Fa el lea i g. Th oughout the il e get o e pla aio of ho this ha a te II. Case Studies - 2. Liverpool 73 is, a d his elaio ship to Fa el. A a i le a out the il states that T ujillo is his fathe , ut i the il e i d o p oof of that .
Cut to a a ith a push a t. O his a he eets Fa el ho asks if the e is a possi ilit of gei g food. Although the a ith the push a t goes of i a othe di e io , the a e a follo s hi fo a hile.
Cut to a a tee . Th ough the i do e see Fa el app oa hi g. He e te s. The host p o ises to i g hi so ethi g to eat. Fa el sits do a d aits. The host se es food, Fa el eats. Cut to a ediu lose-up of Fa el eai g. Fa el is sii g at a ate ed ed ta le agai st a g ee all that fo s a e ell- ala ed o posiio . Of-s ee e hea a telepho e s ste .
Cut to the kit he . The host ope ates the telepho e s ste . The talk o e s the s o a d that T ujillo a d Velaz uez ha e to ou d up the sheep. The ill eed o e fuel. The the speake f o afa asks ho Naza e a is doi g a d the host a s e s that the e is o i p o e e t. Cut to Fa el at the ta le. A a , ho e sa o se i g Fa el T ujillo , o es i a d i gs so e ood fo the sto e. He looks at Fa el. Ca e a etu s to Fa el. Cut to a othe ie of the a tee . A gi l ith a pot o es i . “he e ha ges looks ith Fa el a d ha ds the pot to the host a ed To es, as e just lea ed . As the gi l aits she keeps e ha gi g looks ith Fa el. T ujillo o es out of the kit he a d sa s that he ill a o pa he ho e. He sa s he a e – it is A alia.
Cut to a i do of a house. Late e e i g. Fa el s eaks up, d i ks f o his otle. He sees the gi l A alia o i g i a d hides hi self. A alia s it hes o a litle la p a d a ies it th ough the oo , a d the she s it hes of the do lighte . Fa el hides ehi d the i do a d d i ks.
Climax (minutes 49 - 64)
The e t o i g, Fa el is asleep i the lat i e.
Cut to the e t shot, hi h ill last fo t o i utes. Ca e a is posiio ed i the house, it at hes a s e e th ough the i do of t o e o e of the is the host, To es a i g Fa el. The i g hi i to the house a d put hi o a ed the a e a o es ith the . To es puts o e ood i to the sto e. T ujillo o e s Fa el ith la kets a d asks hi hat he is doi g he e. A alia as o sho tl ate he let. No od ould k o hi a o e. Not e e his othe . “he is si k. T ujillo sa s a u ial ph ase: You let e o e he k of a lega . He asks hat Fa el is hopi g to i d. Fa el sleeps. T ujillo lea es.
303 Viole�a Kovacsics, Adam Nayma� Shore leave: Lisandro Alonso´s Liverpool i� CinemaScope, available a� htp:// i e a-s ope. o / i e a-s ope- agazi e/i te ie s-sho e-lea e-lisa d o-alo sos-li e pool/ (Accessed 02.10.2012). II. Case Studies - 2. Liverpool 74 Cut to the outside. ‘a its a e hoppi g i the s o i side a fe e. A alia goes to the .
Cut to the house. Fa el is sii g o the ed. He sta ds up a d takes the pot of até tea. He puts o his shoes, d i ks so e o e tea, a d puts o his oat. Fa el goes to the doo a d ope s it, sta ds i the doo a . The he etu s a d takes his ag, looks a ou d a d lea es.
Cut to the a tee s kit he . Fa el a i es a d u s a loaf of ead. As Fa el lea es, To es goes to the i do , looks out a d looks at the o e Fa el ga e hi .
A alia s oo . “he sits at the ta le a d ites. The doo o the let ope s a d Fa el o es i . He i gs he the ead. He ofe s he a pie e. “he does t see distu ed. Fa el asks hat she is d a i g, she a s e s that it is a hea t. Fa el looks a ou d the oo . “he asks hi fo o e . Fa el lea es the uesio u a s e ed.
Cut to the e t oo . Fa el e te s. The e a e t o eds, Fa el s othe lies o o e of the . Ate so e hesitaio Fa el sits do eside he . The old o a asks if his legs hu t. Fa el espo ds aski g if she k o s ho he is. “he a s e s that she sees a lot of people she does t k o o e og ize. He sa s his a e, ut she does t e og ize hi . Fa el puts a la ket o e he ha d. Fa el looks a ou d ut she asks hi to lea e it like it is. Fa el epeats his a e o e o e, ut she sill does t e og ize hi . “he asks hi to epeat the a e, ut sill, othi g. He he ks if she has a fe e ; she sa s he has old ha ds. Fa el sta ds up a d lea es ate he hea s A alia aski g hethe he is goi g to gi e he so e o e f o the e t oo . The s e e lasts fo al ost th ee i utes.
Cut to A alia s oo . Fa el takes so e o e out of his allet a d gi es it to he . A alia puts o he oat a d lea es the house. Fa el looks at he th ough the i do . He puts o e ood i to the sto e. The he takes a photo f o the shelf, puts it i his ag, puts o his oat a d e its th ough the doo o the let. Fo half a i ute the a e a li ge s o the e pt oo .
A s o oad i the illage. Fa el t ies to o e take A alia. He at hes up to he e t to a a a d he ks if she has the o e ith he . The he gi es he so ethi g, ut i the lo g shot it is t e og iza le e late dis o e it is a ke hai . He sa s that he is lea i g. The a e a a o pa ies hi a d i a othe lo g shot he disappea s ehi d a hill. The shot lasts fo o e tha t o i utes.
Epilogue (minutes 64 - 84)
Fa el s fathe sits at the i do a d peels o io s.
Cut to the sa ill e io ed ea lie i the il , e see fo the i st i e . Me a e ui g ood. A alia o es i a d osses the hall. O e of the e goes to he a d sa s she should II. Case Studies - 2. Liverpool 75 go to the a tee , he ill o e sho tl . A alia e its o the ight, ut the a e a sill li ge s o the s e e.
Mothe s oo . T ujillo feeds he . “he asks hi to dip so e ead. He i sists that she has to eat. A alia o es i a d sits do o the e t ed. A alia is se t to get di e f o To es. T ujillo e p esses elief o e Fa el s depa tu e.
Cut to the a tee . To es a d a isito sit at a ta le. A alia o es it ith a pot a d, ithout o e t, To es takes it a d heads to a ds the kit he . The st a ge asks if she likes the usi , she ag ees. To es o es a k ith a pot, A alia lea es. To es etu s to his pla e at the ta le a d ofe s gi to the st a ge . He asks if e e thi g is OK at the sa ill the thi d i e i the il he the sa ill is e io ed! , a d To es espo ds that the ha e a lot to do these da s, ut a e u i g out of ood e ause deli e is e slo . A e the goi g to i the e gi e o “atu da ? – Yes, a e ha i is o i g o “atu da . He also asks a out T ujillo. To es espo ds that he is al a s u i g ate a i als a d that T ujillo is looki g ate Naza e a.
A alia o es i to the oo of Fa el s othe holdi g a la p. “he takes of he lothes a d lies do o the ed. “he tu s of the light. Ca e a li ge s o the s e e. T ujillo sho els s o . He puts the sho el aside a d goes i to the house.
Cut to the e t shot - a a sta di g e t to a fe e s oki g. I the a kg ou d, A alia o es out of the la ato . The a alls to he , ut she does ´t a s e . A alia sits do e t to the fe e a d a es so ethi g i to the ood. “he sta ds up a d lea es.
A lo g shot i the oods. A alia a d he g a dfathe T uijllo a e looki g fo t apped a i als. This i e the ha e o ag. O the suggesio of the g a dfathe the go a d look fo fo es. Cut to the e t shot. It is a lo g shot i the s o oods. G a dfathe has aught a fo that lies i the t ap.
Mediu lose-up of A alia as she sta ds e t to a t ee. “he looks a k to a ds he g a dfathe . He asks he to hu up; he has aught a e i e fo . The a e a ef a es so that the oth a e i the shot.
Cut to the e t lo g shot. Fa el s fathe ad ises A alia to e a eful o the s o . As the a h, the a e a follo s the a d soo e see the illage i the a kg ou d. The a e a li ge s o the s e e u il oth ha e ea hed a a .
Cut to the a i te io . A alia a d T ujillo e te a d set do the t aps. T ujillo asks A alia to go a d feed the sheep.
Cut to the a ea ith sheep. A alia o es ith ha a d sp eads it fo the sheep. The she o es to the f o t of the shot a d looks a ou d as if eassu i g he self that o od a see II. Case Studies - 2. Liverpool 76 he . The a e a ef a es a d e see a ke i g ith the a e Liverpool i he ha ds. “he tu s it as if t i g to i d out hat it is o hat it is fo as e a ot see he fa e, this a e o l ou i te p etaio . E d of the il .
. . Tella ilit of the stor
As it e o es o ious f o the des ipio of the il Liverpool, Alo so s app oa h to the stagi g is si ila to that of Tsai Mi g Lia g – the il is do i ated stai lo g shots a d e te ded takes. Ho e e , hat dife s o pletel is Alo so s ha dli g of the a ai e. I ega d to the st lisi s, “pe e a d Wilso sa that “t lisi dife e es a e just dife e es i the a ele a e is a hie ed. As A e i a philosophe A a Ch isi a ‘i ei o st esses, all these dife e es i the desig of a essage a e do e fo a easo - a o di g to the ele a e theo sta e, fo also o t i utes to the o te t.
As the des ipio of the il Liverpool suggests, it is a si ple sto , spa sel told. A sailo e ei es sho e lea e a d uses it to isit his ill othe , a d upo lea i g gi es his alleged daughte a s all p ese t. I te s of tella ilit it is a plot ith a high ele a e – it is a a het pal sto a out so eo e ho etu s ho e lost so , fo e a ple , a d e as e pe ie ed ie e s k o that su h sto ies o tai a huge a ai e pote ial tella ilit . What follo s is a ate pt to e plai ho the utual o diio alit of the il s fo a d o te t ot o l st u tu es the il i to a ts, ut also pla s ith the ie e s e pe taio s. I othe o ds, ho the huge a ai e pote ial of the sto is u de i ed the i i alisi a isi desig , thus f ust ai g the a ai e e pe taio s of the audie e. A de o st aio of this i st e ui es a look at the issues of a atolog follo ed the appli aio of the theo of ele a e to this il e a ple.
. . Le els of arrai e
I the p e ious hapte the il Goodbye, Dragon Inn as used as a e a ple of slo i e a he e, i ele a e-theo te s, the thi d stage of the o p ehe sio p o ess – that of the o st u io of i pli ated o lusio s – took pla e ith dela , e ause the o te tual i fo aio eeded as usuall ot a essi le to the ie e du i g the il s ee i g. Liverpool is a ou te e a ple to Goodbye, Dragon Inn, e ause if i the ase of Tsai Mi g-
304 �a� �perber, �eidre �ilso� Relevance. Communication and Cognition, 2�d edi�io�, Oxford, 1995, p. 224. 305 A��a Chirs�i�a Ribeiro Relevance Theory and Poetic Effects i� Philosophy and Literature, Vol. 37, No 1, 2013, p. 108. 306 �h�s, �ellabili�y is clearly a ca�e�ory �hich also depe�ds o� o�r c�l��ral co��ex� k�o�led�e. �ore o� �his s�bjec� by Pe�er Hüh� Revision of Event and Eventfulness from Fri, 13 September, 2013 i� Pe�er Hüh� e� al. (eds.) The Living Handbook of Narratology, Hamb�r�, available a� htp:// .lh .u i-ha u g.de/ ode/ / e isio s/ / ie (Accessed 10.11.2013). II. Case Studies - 2. Liverpool 77 Lia g´s il it as o ious that the e is a huge a ou t of pa ate t eeded i o de to o pletel o p ehe d the il , the i Alo so s ase e e thi g is al ead the e – o s ee . But, if i the ase of Goodbye, Dragon Inn the il ake took o e i e a d dela ed the ut i sho i g the o s ee a i iies, thus eai g e te si e des ipio s of the a i iies i e ai ea s, the Alo so uses i i alis as his a isi app oa h. I te s of a ai e o st u io , this app oa h a e a al zed appl i g the odel of dife e t le els of i io al a ai e as de eloped Ge a lite a s hola s Maias Ma i ez a d Mi hael “ hefel. P io to a e pla aio of the Ma i ez/“ hefel theo , let s o side so e of the episodes i the setup that depi t Fa el s sta i Ushuaia.
Ate Fa el has let the ship the e is a shot of hi taki g a gulp f o his odka- otle a d hidi g it, ut, as this a io is il ed usi g a ediu lo g shot, e a ot assess he e it is. Co t a to t adiio al edii g g a a , the e is o esta lishi g shot as a i t odu io to the episode that e eals the sei g he e the s e e takes pla e, hi h ould pe haps e e deli e a e pla aio as to h Fa el is the e.
The e t episode is a lo g shot i a a tee he e Fa el eats his suppe . The u al ehi d hi a eate laughte fo the ie e , ut it is laughte fo laughte s sake. It does ot o t i ute eithe to the e pla aio of Fa el s he ea outs o to the sto s de elop e t.
The e t episode depi ts Fa el i a st iptease a shots . As it is il ed ith a ediu lo g shot ith o o e i e shots et ee the p e ious a tee episode a d the follo i g o e ith Fa el a aki g i a us the e t o i g, e a i fe that this as hat Alo so o side s ele a t fo the o e all t aje to of the sto . As the e a e o esta lishi g shots, o passage episodes that ould e plai ho a d h Fa el o es f o o e a i it to the e t, e a dedu e that this f ag e ted app oa h to stagi g is Alo so s sig atu e.
The suggesio a o e is that the sto as su h foste s tella ilit , ut let s o side these th ee episodes as a ai e e e ts a d assess thei deg ee of a ai it . As e io ed, Ma i ez/ “ hefel de eloped thei odel disi guishi g et ee fou le els of a ai e that elo g to the eal of the hat a d t o le els of the h :
. E eig is/e e t – a ele e ta e it of a a ai e o k of a t.
. Ges hehe /sto – e e ts fo a sto he the follo o e ate the othe h o ologi all .
. Ges hi hte/plot – a sto of e e ts tu s i to a plot he the e e ts follo o e a othe ot o l h o ologi all , ut also addiio all displa i g a ausal dete i aio .
307 No�e �ha� �he �ar�i�ez/�cheffel model differs comple�ely from �ha� Gérard Ge�e��e ��ders�a�ds ��der �he �o�io� of �arra�ive levels. �ore o� �ha�: Joh� Pier Narrative levels i� Pe�er Hüh� e� al. (eds.) Living Handbook of Narratology, Hamb�r�, htp:// .lh .u i-ha u g.de/a i le/ a ai e-le els (Accessed 11.10.2013). 308 �ark�s K�h� Filmnarratologie. Ein erzähltheoretisches Analysemodell, �erli�, 2011, p. 66. II. Case Studies - 2. Liverpool 78 . Ha dlu gss he a/plot s he e– is a glo al s he a that is ha a te isi ot o l of the hole o k, ut also fo g oups of a t o ks fo e a ple, t pes of te ts, ge es .
. E zählu g/ a aio – the e e ts i thei su essio as told i the te t.
. Das E zähle / a ai g – the p ese taio of a plot i a pa i ula ediu .
As the th ee episodes de o st ate, the i i alisi a ai e is eated loose i g the ausal hai et ee the a ious depi ted e e ts. The e is o jusii aio as to h Fa el is p e isel doi g the thi gs he does. As these e e ts follo o e ate the othe e a assu e that the elo g to the sa e sto , ut the le el of plot is e eak – the ausal ues et ee the o s ee e e ts a e ha dl dis e i le o issi g o pletel . This loose i g of the ausal hai et ee e e ts a e o se ed du i g the e i e le gth of the il , although the e a e also so e e lassi hi ts fo fu the sto de elop e t. Fo e a ple, he Fa el asks the a ith the push a t a out gei g lu h i the illage, i the e t shot e see hi e te a a tee .
Looki g at the pa i ula e e ts i these th ee episodes – d i ki g, eai g, at hi g – e a ot assig a high deg ee of a ai it to the pe se. But p e isel he ei lies the u of the ate . Na el , as e io ed i the i t odu io , ost theo ists a e ha ge as a i po ta t o diio fo a ai it . But these a i iies, p ese ted as solo a i iies ith o a ai el e plai ed ausal li ks et ee the , a tuall te d to e a fo of des ipio . Although the sto o iousl p o eeds, the o s ee e e ts do ot a i el o k to a ds the sto s fu the a ai e de elop e t a out a lost so etu i g ho e. “i pl put, the pa e of the a ai e is slo ed do a d this also o t i utes to the il s st u tu ed loose ess.
This te de to a ds su h i i alisi a ai e desig a e fou d i se e al il s ega ded as elo gi g to slo i e a. Ho e e , hat has to e to u de li ed he e is the fa t that ega dless of hi h a isi te de is i uesio – i i alis o pa a et i it –the ha a te isi featu e of slo il s follo i g the s he a of Ma i ez/ “ hefel, is that these il s a e des i ed as sto ies e ause the e e ts follo o e a othe h o ologi all , ut the le el of the plot a e e eak. The li ea it of the a aio is sta da d i slo i e a a d thus the fa t that e e e e t te ds to de o st ate so e ki d of a de elop e t o e a e tai pe iod of i e se es as a sui ie t ausal o e io fo plot o st u io .
309 For �he E��lish �ra�sla�io� of �he �erms �sed by �ar�i�ez/�cheffel � �sed �he s���es�io� offered by Rola�d �eidele Organizing the Perspectives: Focalization and the Superordinate Narrative System in Theatre and Drama i� Pe�er Hüh�, �olf �chmid, Jör� �chö�er� (eds.) Poinf of View, Perspective and Focalization: Modelling Mediation in the Narrative, �erli�, Ne� York, 2009, p. 222. 310 �ark�s K�h� Filmnarratologie. Ein erzähltheoretisches Analysemodell, �erli�, 2011, p. 66. II. Case Studies - 2. Liverpool 79 . . Authorial i te io s a d disappoi ted e pe taio s
A dis ussio of the o e ge e al issue of ele a e theo is a a ted he e, a el that of autho ial i te io s, a d the ish is to de elop this oio taki g the liste e / ie e out.
Paul H. G i e stated that o e of the e t al featu es of ost hu a o u i aio , eithe e al o o - e al, is the e p essio a d e og iio of i te io s. “pe e a d Wilso fu the de elop this lai st essi g the i po ta e of e pe taio s, hi h ute a es auto ai all ge e ate i liste e s, thus leadi g the to the i te ded ea i g. The e t al lai that disi guishes the ele a e theo sta e f o that of G i e is the state e t that the e pe taio s of ele a e aised a ute a e a e p e ise e ough a d p edi ta le e ough, to guide the hea e to a ds the speake s ea i g . As e plai ed i the i t odu io , this sea h fo ele a e takes pla e alo g the li es of oste si e si uli that posii el ha ge the og ii e e i o e t of the liste e .
A de o st aio of ho Alo so pla s ith the ie e s e pe taio s e ui es a etu to the i t odu to episode of the il , e ause it sheds a e light o the a i hi h Alo so dist i utes oste si e si uli .
It is e u usual fo a il to i t odu e the ai ha a te ithout sho i g hi at the e t e of the shot. E e o e, it is e u usual to sho the ai p otago ist at the egi i g of the il out of fo us, o the fa ight of the shot. It o t adi ts the t adiio al o posiio p i iples of a il shot. A o di g to o posiio al te h i ues, ou ate io is guided to the t o e pla i g o pute ga es. The a e situated at the e t e of the shot; the speak to ea h othe a d o e thei ha ds. These a e p e isel the poi ts i a shot e a e usuall at a ted to. Ou oio pi tu e e pe ie es also eate a supposiio that hat these e a e sa i g ill gi e us hi ts fo sto de elop e t, ut that is t the ase. “o these t o e o l di e t ou ate io f o Fa el. O l ate uliple ie i gs the audie e a oi e that the eall i po ta t i fo aio – the il s leadi g igu e, Fa el, sii g at the fa ight of the shot a d the lea i g – is a tuall of ou ada .
The thi d episode of Liverpool follo s the i st o e i its o ga izaio al p i iples. The e e see t o e ha i s i a e gi e oo . O e tells the othe to he k the udde s oil le el at the ste . As the e ha i goes th ough the ship he dis o e s Fa el sleepi g et ee the pipes a d hases hi a a . As the il has just sta ted a d e as a audie e a e sill u su e ho the ai ha a te of the il is, e pa o e ate io to the talk of the t o e ,
311 �eidre �ilso�, �a� �perber Relevance theory i� La�re�ce R. Hor� & Gre�ory �ard (eds.) Handbook of Pragmatics, Oxford, 2004, available a� htp:// .da .spe e .f /?p= (Accessed 14.07.2013) . 312 �bid. 313 �bid. 314 �im �mi�h Watching you watch There will be blood i� �avid �ord�ell Observations on ilm art, 14.02. 2011, available a� htp:// .da id o d ell. et/ log/ / / / at hi g- ou- at h-the e- ill- e- lood/ (Accessed 23.09.2012). II. Case Studies - 2. Liverpool 80 pe haps e e e pe i g that leaki g oil ill ha e so ethi g to do ith the sto . Thus, e a o e look the a i it i the o ido et ee the pipes he the e ha i hases Fa el a a .
I a ai e te s the , these i st shots a ake false e pe taio s i the ie e . O l do e g aduall o e to u de sta d ho the il s lead ha a te is.
I Liverpool the e is also the ha dli g of a the e o pletel ased o false e pe taio s, a el that of the sa ill. I the il the sa ill is e io ed uite ote . Fo e a ple, at the egi i g, i the dis ussio ith the aptai a out Fa el s sho e lea e, a d late i Ushuaia he Fa el is looki g fo a a to take hi to his illage. The e hea a out it i the pho e alls i the a tee . Addiio all , at the egi i g of the epilogue the e is a sho t episode he e the a e a follo s the dail o k at the sa ill. The fa t that Fa el efe s to the sa ill t i e aises the e pe taio that this is a da gli g ause, ut as the il de elops this supposiio is ot ai ed. What s o e, the episode i the sa ill does ot see to elate to a sto li e. O e ight e e sa – it has a pu el de o ai e pu pose. We see the sa ill he the sto follo s A alia as she t a els th ough the illage, a d fo o u de sta da le easo s she passes it. This is the se o d false da gli g ause i this il the i st as the leaki g pu p i the se o d episode of the il . It see s that uildi g up su h false da gli g auses a d, o se ue tl , disappoi i g ie e s e pe taio s, is o e of the a ai e st ategies ot o l of Alo so, ut of slo i e a altogethe . Mo e su h o e ts i Liverpool ould e ited, fo e a ple, i the epilogue T ujillo e p esses elief a out Fa el s depa tu e, ut eithe efo e o ate a ds do e lea the ause of his dis o te t ith Fa el.
Thus, usi g the te of the ota le Ge a lite a s hola f o the Co sta e “ hool, Ha s- ‘o e t Jauss, the ho izo of e pe taio s E a tu gsho izo t has ee iolated. Jauss states that the eade s ho izo of e pe taio s is fo ed ot o l ge e i o e io s, ut also the st le o the fo o t i utes to the uildi g of the . Jauss has ote ee ii ized fo his elief that it is possi le to o je if the su je i e ho izo of e pe taio s. E glish s hola Mi hael Toola suggests the te g aded e pe taio s. His posiio is p odu i e fo a al sis of slo i e a, e ause, as e plai ed i the i t odu io , though the edu ated i e a ie e is the a het pal ie e of slo il s, e sill e ou te e dispa ate e pe taio s to a ds a il a o g dife e t e e s of this g oup.
315 ��� �o�e �ha� � do �o� i��e�d �o follo� Ja�ss’ �rai� of �ho��h� �ha� co��ec�s �he viola�io� of �he spec�a�or’s expec�a�io�s �o�ards �ovel�y, �h�s a�alyzi�� i� as a si�� of aes�he�ic val�e. For more o� �his see Rober� C. Hol�b Reception Theory: a critical introduction, Lo�do�, 1984, p. 62�63 a�d Ha�s Rober� Ja�ss Literary History as Challenge to Literary Theory i� Ha�s Rober� Ja�ss Toward an Aesthetic of Reception, �ri�h�o�, 1982, p. 25�45. 316 Ha�s Rober� Ja�ss Literary History as Challenge to Literary Theory in Ha�s Rober� Ja�ss Toward an Aesthetic of Reception, �ri�h�o�, 1982, p. 24. 317 Ralf �ch�eider Reception Theory i� �avid Herma�, �a�fred Jah�, a�d �arie�La�re Rya� (eds.) Routledge Encyclopedia of Narrative Theory, Lo�do�, 2005, p. 493. 318 “��b�le de�rees of varyi�� expec�a�io�, as �o �ha� �ill happe�, �o �hom a�d �he� (e�c.)”� �ichael �oola� Graded Expectations: On the Textual and Structural Shaping of Readers´ Narrative Experience i� Joh� Pier (ed.) The Dynamics of Narrative Form: Studies in Anglo-American Narratology, �erli�, 2004, p. 216. II. Case Studies - 2. Liverpool 81 . . Weak i pli atures: do i a t a d i a u da e
Let s o e agai o side o e of the o e state e ts of the ele a e theo . Na el , that the liste e at i utes ele a e to a ute a e. Ho e e , if the i te io of the se de of the essage is ot lea st o g o if the essage eates u e ous i pli aio s, the su h ute a es elo g to the eal of eak i pli aio s. This app oa h is t pi al fo a t, a d “pe e a d Wilso dis usses this issue u de the headi g of poei efe t.
The a gu e t he e is that si e the i -up of ke els a d satellites takes pla e pe a e tl a d, o se ue tl , the e pe taio s of the audie e a e o sta tl disappoi ted, the possi le a ke s fo the ie e s o ie taio i sea h fo the ele a e of the sto s e e ts i Liverpool e o e o e a d o e fuzz . I ele a e-theo te s, it e o es ha de a d ha de to disi guish et ee eak a d st o g i pli atu es. Fo e a ple, the se e al pho e alls i the a tee s kit he , although staged i a a e t pi al fo st o g i pli atu es i a eal-life situaio , the ha e o ele a e fo plot de elop e t a d thus e o e eak i pli atu es – the ie e a assig ele a e to the if the ish to.
A lea e e a ple is the sho t episode sho tl ate Fa el gets of the t u k i his ai e illage. He studies so ethi g o a f oze , oke -do foot all gate. As the e is o lose-up to e plai hat Fa el sees o does, the ie e has to i te p et the s e e.
At this poi t it is useful to i t odu e the o epts of gap o i dete i a 322.
‘o a I ga de des i es the a i it of illi g i a pla e of i dete i a as o eizaio . I a ase, I ga de o side s o eizaio s as a i iies of i di idual eade s, thus taki g i to a ou t pe so al oods, e pe ie es o othe fa to s that a ha e a efe t o the a t of o eizaio . Not t o o eizaio s of e e the sa e eade ill thus e ide i al.323
I lite atu e, a gap is dei ed as a shit et ee the eal a d the i io al o ld. Whe su h shits o u , the eade has to ill the i ith his i agi aio .
As il is a isual a t that sho s see i gl e e thi g, su h gaps see to e i possi le. Wolfga g Ise st esses this i speaki g a out il adaptaio s. To his i d il gi es us e e thi g, so the ie e does ot ha e to i est i o de to o plete the i age.
319 �eidre �ilso�, �a� �perber Relevance theory i� La�re�ce R. Hor� & Gre�ory �ard (eds.) Handbook of Pragmatics, Oxford, 2004, available a� htp:// .da .spe e .f /?p= (Accessed 14.07.2013). ������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������������ 321 �olf�a�� �ser Der Akt des Lesens. Theorie ästhetischer Wirkung, ���ich, 1976, p. 313 (“Leers�ele” may also be �ra�sla�ed as “bla�ks” as �ra�sla�ed by Rober� C. Hol�b i� Rober� C. Hol�b Reception Theory: a critical introduction, Lo�do�, 1984, p. 92.) 322 Roma� ���arde� The Cognition of the literary Work of Art, Eva�s�o�, 1973, p. 50, ori�i�ally p�blished i� Polish i� 1937. (�� Germa� – U�bes�imm�hei�ss�elle). 323 Rober� C. Hol�b Reception Theory: a critical introduction, Lo�do�, 1984, p. 26. 324 �of�a�� �ser Die Appellstruktur der Texte, Ko�s�a�z, 1970, p. 12. 325 �olf�a�� �ser Der Lesevorgang. Eine phänomenologische Perspektive i� Rai�er �ar�i�� (ed.) Rezeptionsästhetik. Theorie und Praxis, ���ich, 1994, p. 263 II. Case Studies - 2. Liverpool 82 But ot e e thi g a e sho o the s ee . A i iies su h as thi ki g, lo gi g, o edo o a iet a e ha d to illust ate o the s ee , although the e a e t adiio al p i iples of il g a a a d a i g th ough hi h these states of i d a e de o st ated. Ote the a e a i ulated e all o e plai ed the p e ious o follo i g episodes. As Belá Balázs stated, i fil : ge ügt au h die edeutu gs ollste Ei stellu g i ht, u de Bild sei e ga ze Bedeutu g zu ge e . Diese i d letzte E des o de Positio des Bildes z is he de a de e Bilde e ts hiede … Das Bild eko t i jede Fall u d u e eidli h sei e Bedeutu g du h sei e “tellu g i de Assoziatio s eihe…die Bilde si d…glei hsa it ei e Bedeutu gste de z gelade , die si h i Auge li k ih e Be üh u g it de a de e Bild auslöst.
This stud i fa t ishes to st ess the posiio ofe ed lite a s hola Do othee Ki i h that gaps i il a e fou d o t o le els – the a e situated et ee the shots i the edii g a d i the plot st u tu e. As e see i Liverpool, gaps a e fou d o oth le els. The issi g lose-up that ould e plai hat Fa el sees o the foot all gate a e see as a gap i the shot se ue e. Also, the issi g i fo aio of h Fa el s fathe is elie ed that he has let a e ega ded as a gap i the plot. The ie e is let ith a tease - a he k of a lega , as Fa el s fathe e p essed it.
I a ase, i Liverpool e e ou te uite lassi gaps, ut it s i po ta t to highlight a othe dei iio of gaps i the il as see Do othee Ki i h. “he e plai s a passage i “iegf ied K a aue s Theory of Film a out so e shots i “e gei Eise stei s Batleship Pote ki as follo s: shots i this il that t a spo t uliple asso iaio s a d thus a e de oid of dete i ed ea i g a e u de stood as gaps.328 This pa i ula u de sta di g of a gap – a e tai a u da e of possi le ea i gs - a e fou d i slo il s. Fo e a ple, se e al situaio s i Goodbye, Dragon Inn a e i te p eted as ha i g a e ess of asso iaio s. The o ept of a gap that has to e illed out a eade / ie e is o pai le ith the oio of eak i pli atu es as u de stood the ele a e theo .
It as oted that i o pa iso to Goodbye, Dragon Inn, i Liverpool e e thi g eeded to u de sta d the sto is o s ee . He e the thesis e ui es odii aio : i Liverpool the e a e a lot of gaps that the ie e has to ill usi g thei k o ledge a d appl i g the i te p etaio p o edu e. But ote that the e a e al ost o e pla aio as to hi h di e io the i te p etaio should take, a d hat ould e the ight e pla aio fo the o s ee
326 �el� ��lazs Der Geist des Films, Halle, 1930, p. 46. 327 �oro�hee Kimmich Die Bildlichkeit der Leerstelle. Bemerkungen zur Leerstellenkonzeption in der frühen Filmtheorie, 2003, p. 4, available a� htp:// .u i-tue i ge .de/ilead i /U i_Tue i ge /Fakultaete / Neuphilologie/Deuts hes_“e i a /A teilu ge /Neue e_dt_Lite atu /Ho epages/Ki i h/Doku e te/ Bildli hkeit_de _Lee stelle.pdf (Accessed 11.11.2013). 328 �oro�hee Kimmich Die Bildlichkeit der Leerstelle. Bemerkungen zur Leerstellenkonzeption in der frühen Filmtheorie. 2003, p. 4, available a� htp:// .u i-tue i ge .de/ilead i /U i_Tue i ge /Fakultaete / Neuphilologie/Deuts hes_“e i a /A teilu ge /Neue e_dt_Lite atu /Ho epages/Ki i h/Doku e te/ Bildli hkeit_de _Lee stelle.pdf (Accessed 11.11.2013) , p. 15. II. Case Studies - 2. Liverpool 83 a i iies. E e o e, o t a to Goodbye, Dragon Inn, i Liverpool o e a u de sta d the sto ithout a addiio al efo t of illi g i the gaps. This is so e ause the gaps i the Tsai Mi g-Lia g il e e ote elated to ke el e e ts of the sto , ut i Liverpool these spots of i dete i a ai l afe t satellite e e ts.
O iousl , i all these ases the ole of the ie e i aki g out the plot is u ial. The deg ee of o ide e Alo so has i his ie e s is si ila to that of Tsai Mi g-Lia g. E e o e, as Alo so de la es: M il s a e t a ai es. I o se e people, dife e t o e ts, a d I put the all togethe i the il . The audie e has to i agi e o eate so ethi g sii g i the hai . 329
“peaki g a out Liverpool i pa i ula he e e tops that sa i g: It s o l the audie e ho a ake the o e io et ee Fa el, the gi l a d the ke hai . If the e s so e po e i that s e e, it o es f o the spe tato , ot f o the f a e o hate e . A d i all : A o e a eate the ea i g that the d like, a d e e egiste depths that a e t the e.
This last uotaio of Alo so ould se e as a a te la he fo a il s hola to de elop s pto ai i te p etaio s332 of Liverpool, ut, as e p essed i the i t odu io , that is ot this e dea ou s i te io . I stead, this stud ould like to fu the the oio of i te p etaio i a othe di e io , a el to st ess its i po ta e fo the p o ess of o p ehe sio . The o ept of gaps has ee i t odu ed. F o the poi t of ie of og ii e a atolog , a ut et ee the shots a e ega ded as a gap, hi h gets illed th ough the p o ess of o eizaio ‘o a I ga de .333 Kuh , uoi g f o dife e t sou es, u de li es the i po ta e of o te t a d a kg ou d k o ledge fo the p o ess of o eizaio / oi aio . The ie e s glo al k o ledge a d elia e o the og ii e s he ata is de isi e fo illi g gaps. I the hapte a outGoodbye, Dragon Inn this issue as looked at, a d o e ill e u eiled i the hapte a out the il Colossal Youth. Fo the i e ei g the dis ussio ust ee i a othe di e io .
‘etu i g to the uesio of i te p etaio - depe di g o the i po ta e e allot to it, the uesio of i i al o diio s fo a ai it a e oa hed f o a othe pe spe i e. T adiio all , fo a hai of e e ts to fo a sto at least o e ha ge of state et ee the
329 �ichael G�ille� Liverpool. An interview with Lisandro Alonso i� Twitch, available a� htp://t it hil . o / / /li e pooli te ie - ith-lisa d o-alo so.ht l (Accessed 27.09.2012). 330 �arre� H��hes Who´s John Ford? i� Senses of Cinema, 14.04.2009, htp://se sesof i e a. o / / / lisa d o-alo so-i te ie / (Accessed 23.09.2012). 331 Viole�a Kovacsics, Adam Nayma� Shore leave: Lisandro Alonso´s Liverpool i� Ci�ema�cope, available a� htp:// i e a-s ope. o / i e a-s ope- agazi e/i te ie s-sho e-lea e-lisa d o-alo sos-li e pool/ (Accessed 02.10.2012). 332 Abo�� levels of i��erpre�a�io� see �avid �ord�ell Making Meaning: Inference and Rhetoric in the Interpretation, Cambrid�e, �ass., 1989, p. 8�9. 333 �olf �chmid Narrativity and Eventfulness i� �om Ki�d�, Ha�s�Harald �üller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, �erli�, 2003, p. 20. 334 �ark�s K�h� Filmnarratologie. Ein erzähltheoretisches Analysemodell, �erli�, 2011, p. 68. II. Case Studies - 2. Liverpool 84 has to e e iste t. Ho e e , fo e a ple, Mei “te e g goes e e so fa as to ai tai that You a sipulate o e/t o/th ee e e ts, ausalit a d so fo th, ut the e uesio of hethe the e is a ausalit i the te t o ot e ai s a ate of i te p etaio .
“te e g s sta e tou hes a othe issue that is highl o tested i a ai e theo . Na el , to hat deg ee is the sto p ese ted the autho s, o does it ha e to e o pletel o st u ted the eade ? “te e g ases his app oa h o a e ge e al dei iio of a ai e – si e a a ai e is a o st u t of ou i ds, a sig o a olle io of sig s is a a ai e if it p odu es i us suspe se, u iosit o su p ise . This stud s posiio is that i te s of il , su h a oad dei iio is ot useful as a t o ks te d to ha e so e ki d of a fo gi e the autho . Ho e e , hat the dife e t slo i e a e a ples ha e de o st ated a d ill o i ue to do so th oughout this stud is the te de that, i o pa iso to ai st ea a ai es, il ake s allot o e f eedo to thei ie e s a d thus allo fo o e i te p etaio . Alo so s uotaio s o i this asse io . This stud elie es that uilizi g a i i alisi app oa h as the a isi desig of a sto g a ts g eate i po ta e to the ie e s i te p etaio . Ho e e , as ill e de o st ated late , the f eedo gi e to the audie es of slo i e a a a i deg ee.
‘etu i g to the ele a e theo - the fa t that eeds to e highlighted i this espe t is “pe e s state e t that the sha ed espo si ilit that lies at the o e of eak i pli atu es is ot a sig of poo o u i aio : It a e just the deg ee of o u i aio that suits oth speake a d hea e . 338
I te ie s ith Alo so also e eal o ete efe e es a out the ge esis of the il Liverpool. Fo e a ple, he e plai s that the idea of the il a tuall sta ted ith a i age of a sa ill he sa i a e spape . He a ted to il i this e i o e t.339 He also e plai s ho the Li e pool ke i g fou d its pla e i the il : Whe I as o ki g o the post-p odu io of Fantasma i Chile, I sa a Beatles o e a d alled The Sounds of Liverpool. I the e ue the e as a ou g o a ith a lea i g disa ilit eggi g fo o e . The i age of these thi gs a e togethe a d just ould t go a a . F o the e I ega to thi k a out Li e pool as a po t it a d the a out po t iies i A ge i a a d that s ho I a e to Ushuaia, hi h has a lo g histo of E glish i ig a ts. Fil - aki g is a out these elusi e li ks.
335 �olf �chmid Narrativity and Eventfulness i� �om Ki�d�, Ha�s�Harald �üller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, �erli�, 2003, p. 19. 336 �eir ��er�ber� Reconceptualizing narratology. Arguments for a Functionalist and Constructivist Approach to Narrative i� Enthymema, �V, 2011, available a� htp:// i iste.u i i.it/i de .php/e th e a/a i le/ ie / , p. 46 (Accessed 2.02.2014). 337 �bid., p. 48. 338 �eirdre �ilso�, �a� �perber Truthfulness and Relevance, available a� htp:// .da .spe e .f / p- o te t/uploads/ / / ilso _spe e .pdf (Accessed 12.03.2014), p. 24 339 R. Emme� ��ee�ey The Rumpus interview with Lisandro Alonso i� The Rumpus available a� htp:// the u pus. et/ / /the- u pus-i te ie - ith-lisa d o-alo so/ (Accessed 02.10.2012). 340 �aria �el�ado The London Film Festival. Interview-Liverpool i� Sight and Sound, available a� htp://old. i.o g.uk/sighta dsou d/featu e/ (Accessed 02.10.2013). II. Case Studies - 2. Liverpool 85 Thus, the idea of oste si e si uli as supposed “pe e a d Wilso e pe ie es a ki d of defeat – the sa ill a d the ke i g a e i this il e ause the di e to a ted the to e. What ele a e a this eate fo a ie e s u de sta di g of the plot? Ca e sill speak of poei efe t? We a ot si pl o i ue to a gue that it is fo the sake of dé o . ‘athe , the elief he ei is that i su h ases, si ila l to ases he the di e to hooses ot to ut thus eai g a post-a io lag, the ele a e theo ea hes its li its. Co se ue tl , ot e e thi g u usual i a il s desig that does ot o e the p i iple of ele a e a e e plai ed poei efe t. “o e a isi hoi es a e o iousl o pletel a it a . Co se ue tl , although this stud a gues that e a i d si ila st u tu es to the a t s he e i slo i e a, the o ju io s et ee the a d the ausalit et ee e e ts ha e to e edei ed. A e pla aio of Liverpool´s a t st u tu e is the e alled fo .
. . E pla aio of the a t s he e
As i Goodbye Dragon Inn, the setup is the lo gest pa t of the il , ith all the othe pa ts e uall of the sa e le gth of so e t el e to si tee i utes. It see s that i slo i e a the setup akes up the lo gest pa t of the il – he e it takes i utes to ea h the e t pa t of the il . This a e o e ted to the fa t that slo i e a o sists of o se aio al il s, a d o se aio takes i e. The sto ai l de elops out of o se aio . The e a e o l t o lues that foste the a ai e de elop e t of the il : the a tual plot egi s ith Fa el s hat ith the aptai e ause it dei es the goal fo Fa el s ha a te – he a ts to etu ho e. Note that this is the lo gest dialogue s e e i a of Alo so s il s to date. The se o d a ai e hi t e p essed e all o es at the egi i g of the li a he e lea that A talia as o sho t ate Fa el s depa tu e. F o this hi t, d a i g f o life a d i e a ie i g e pe ie e, the ie e a i fe that A alia is Fa el s daughte .
I Liverpool e also e ou te a stagi g st ateg that a e a ked as a tu i g poi t. Na el , he eas i the setup e e ou te e losed spa es o the ship, i the to , at the egi i g of the de elop e t e e jo the ast la ds apes of Te a del Fuego. “o this is a e a ple ithi slo i e a he e a st lisi ju taposiio a se e as a tu i g poi t.
As the il lasts fo o l i utes, it la ks o e pa t of the fou -a t s he a. That of the o pli ai g a io . As K isi Tho pso states, du i g the o pli ai g a io the he o sill o ks to a d his goal, ut i o de to a hie e it, he has to ha ge ta i s. I Liverpool this pa t is issi g. I stead, the de elop e t egi s ate a le gth setup that depi ts Fa el s life o the a go ship a d his i st ight i Ushaia. It e o passes Fa el s a i al i the illage a d his i st da at ho e. Quiet lassi all it o espo ds to the li es of a io li es i the
341 Kris�i� �hompso� Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambrid�e, �ass., 1999. p. 28. II. Case Studies - 2. Liverpool 86 de elop e t as laid out K isi Tho pso . Na el , i de elop e t, all the p e ises ega di g the goals a d the li es of a io ha e ee i t odu ed. He e e e ou te Fa el s ai e illage, its people a d the pe so s ho ill e i po ta t late i the sto i the li a . It is his daughte A alia, his fathe a d the host To es, ith his othe ei g e io ed i the o e saio et ee To es a d his pa t e o the telepho e s ste . I this poi t Liverpool o espo ds to the a ai e s he as of lassi al Holl ood il aki g. The de elop e t e ds ith the episode that i ds Fa el hidi g ehi d the house.
A tuall , a se o d sto li e is esta lished at the egi i g of the li a – he e lea e ough to suspe t that A alia ould e his daughte . Fo the a aio it is the e t da gli g ause that ill e esol ed late o . But ote that Fa el s goal i ega ds to the sto li e is ot a i ulated. We a o l guess f o his a io s – u i g ead fo A alia, gi i g he o e a d a ke hai – that he a i ipates so e ki d of a o ta t ith his daughte . This sto li e desig o espo ds to Alo so s il aki g p a i e of si pl a i g to o se e the ha a te s.
The episode he e Fa el i all sees his othe is a pe ulia o e. We a at i ute li a to this s e e, usi g ot o l ou eal-life e pe ie e eei g o e s othe a e a u ial a i it , ut also usi g ou lite a / i e ai e pe ise. It as Fa el s goal to eet his othe a d fo that this s e e i ds losu e. As K isi Tho pso puts it the a io shits i to a st aighfo a d p og ess to a d the i al esoluio , ut hat is issi g he e is a o e t ated se ue e of high a io . The s e e et ee Fa el a d his othe e e la ks the e oio al i te sit that ould e the o i su h se ue es ithi ai st ea Holl ood il s. This fa t o t asts Liverpool to the fo e , although so e il ii s sill speak a out Liverpool as a elod a a, a d Alo so ight ag ee ith the :
I thi k I tell a e sad sto a out this sailo ho s a fathe , a d this gi l ho s his daughte . I did t tell the sto i a o o pla e a , ut I thi k the e s a sto the e.
I the li a oth sto li es get losu e. Fa el e ou te s his othe as as his goal ight f o the egi i g, a d gi es so e o e a d a sou e i to his supposed daughte . These a e t o tu i g poi ts, o e fo ea h sto li e. As oth sto li es i d losu e, Fa el a lea e. What is e u usual i the a ai e o st u io of the il is the fa t that the sto does ot follo Fa el as he goes a a , ut sta s i the illage a d shits the fo us f o Fa el to his
342 Kris�i� �hompso� Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambrid�e, �ass., 1999, p. 29. 343 “� do�’� like �o explai� charac�ers, beca�se as soo� as yo� do yo� also j�d�e �hem. (..) � j�s� observe ���m�����u���m����g������������������������mu���m�������������������������������������m��(��)������������� choose, � �o�ld say � prefer �he bori�� par�s of ci�ema”� �arre� H��hes Who´s John Ford? i� Senses of Cinema, 14.04.2009, available a� htp://se sesof i e a. o / / /lisa d o-alo so-i te ie / (Accessed 23.09.2012). 344 Kris�i� �hompso� Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambrid�e, �ass., 1999. p. 29. 345 �ichael G�ille� Liverpool. An interview with Lisandro Alonso i� Twitch available a� htp://t it hil . o / / /li e pooli te ie - ith-lisa d o-alo so.ht l (Accessed 27.09.2012). II. Case Studies - 2. Liverpool 87 daughte . E e o e, although the epilogue deli e s a e pla aio of hat Fa el has gi e to he , it is, as as e io ed, a pu el a it a o je t oth the hoi e of a ke hai a d the i s ipio Liverpool o it , hi h has o i pli aio s fo the il s plot. This pa t of the il fo s a e te si e epilogue lasi g t e t i utes. But the e i e epilogue ould also e o side ed a post-a io lag, as a ge e al a ai e st ateg used Alo so.
. . Dei iio of post-a io lag
I the il s de elop e t the e s a s e e he e Fa el eets a a ith a push a t. Although the a ith the push a t goes i a dife e t di e io tha Fa el, the a e a follo s the a fo a hile. “u h o e ts of dela ed ut, he a ha a te e its the f a e, a e alled post-a io lags a d a e e i po ta t to Lisa d o Alo so e ause it is su h o e ts that gi e spe tato s i e to thi k a out the il : Du i g that pause he o es to ealize that i e ai la guage e ists, e ause he is ade to feel the p ese e of the a e a. A d if the ie e feels the e iste e of the a e a, he is also feeli g the p ese e of the di e to . Whe he s ade a a e of all that, a ie e is fo ed to thi k a out i e ai la guage. That is al a s i po ta t to e – that is to sa -, aki g the spe tato ealize that, o e a d e o d hat is happe i g to the i io al ha a te , the e is al a s so eo e else ho is a ai g the sto .
Although it is ot this stud s i te io to dis uss Alo so s sig atu e o to del e i to a i te p etaio of Fa el s sto , this uotaio f o a i te ie ith the il ake a also e ie ed i te s of a ai e theo , a d a shed e light o ho ele a e is a hie ed i slo i e a a ai es. As oted, esides the p oposiio al aitudes o u i ated ia la guage, “pe e a d Wilso also speak of o -p oposiio al aitudes. A t i e a i ge e al a d slo i e a i pa i ula ith post-a io lag as a ha a te isi featu e, ep ese t a p i e e a ple of this ki d of o u i aio . Na el , the li ge i g of the a e a o the shot ate the a io has i ished ope s the doo to o -p oposiio al efe ts. These a e dei ed as efe ts that do ot ield e tal ep ese taio s as the ould ith p oposiio al efe ts, hi h a e e p essed as de o st ai e i fe e es. I stead, o -p oposiio al efe ts, ased o o -de o st ai e i fe e es, t igge e oio s.
This stud ould like to fu the e pa d o this issue etu i g to the dei iio of response as ofe ed Nigel Fa . As response he su su es all su h phe o e a as e oio al espo se, e aluai e aitudes, i p essio s of i te sit , p ofu dit , su li it , a a e ess of epipha ies,
346 Harry ����le Lisandro Alonso interview (Cineaste) i� Unspoken cinema, available a� htp:// u spoke i e a. logspot.de/ / /lisa d o-alo so-i te ie - i easte.ht l (Accessed 02.10.2012). 347 Jacq�es �oeschler Pragmatics, propositional and non-propositional effects: can a theory of utterance interpretation account for emotions in verbal communication? i� Social Science Information, 2009, Vol. 48, No 3, p. 448. II. Case Studies - 2. Liverpool 88 poei e pe ie e a d aesthei pleasu e.
But if these e te ded shots of dela ed o see i gl useless a i iies a e put i the fo eg ou d, the the also a ui e a a ai e sig ii a e a d fu io as the de isi el afe t the a e e pe ie e a il . “ iss li guist Moes hle has de o st ated that e a ot sepa ate p oposiio al efe ts f o the o -p oposiio al – the a e i t i si all e ed .
Post-a io lag as the tu i g poi t of a sto is o e of the possi iliies. A othe , p oposed he e, o e s the uesio of ho to o e to te s ith a slo i e a il . If i ou sea h fo the ele a e of o s ee a i iies e a i e at the o lusio that eak i pli atu es a ot e ega ded as a ield of sha ed espo si ilit et ee the autho a d the ie e , the the a iet of possi le response is u e ous.
. . A e i te sit of at hi g?
Fil ii s as ell as il e thusiasts ha e p o le s des i i g Alo so s il s a d othe slo i e a il s . The follo i g uotaio is a p i e e a ple – su h se te es ould e ite a out al ost a slo i e a il :
“ei e Fil e iete au h a E de kei e Lösu g fü ih e ‘ätsel a . “ie e ege si h iel eh zu ü k zu ei e U sp u g, dahi o Bedeutu g u d “i kei e ‘olle spiele , o die Bilde si h sel st ge ug si d u d i hts edeute olle . Dadu h e tsteht ei e eue I te sität des “ehe s.
“u e, the e is a a ai e i these il s that a e a al sed as e e pliied a o e. But this e i te sit of at hi g is a a ai e st ateg that is as i po ta t as the a ai e tools – a d e o e o ious if e o side the i po ta e of post-a io lag i Liverpool a d othe slo i e a il s. But this i te sit of the i age is ha d to dei e i o ds a d to dete t i o de to a al se. As Pilki gto poi ts out, the efe ts ge e ated response a e a gi al a iaio s i salie e . The a e a ate of deg ee athe tha so ethi g tha a e p e isel easu ed . Co se ue tl , taki g i to a ou t the highl i di idual ea io s to a il , he the edge of eak a ai it is ea hed the possi ilit of odelli g o e o less u ifo a d p edi ta le ie e ea io s to a e tai il e o es u feasi le. Thus, i the last pa t of this hapte I a ot efe to episodes o e e ts f o Liverpool, e ause pe so al ea io s a dife f o those of othe ie e s. This stud a o l poi t to a e tai di e io i te s
348 Adria� Pilki���o� Poetic Effects: A Relevance Theory Perspective, Ams�erdam, 2000, p. 165. 349 Jacq�es �oeschler Pragmatics, propositional and non-propositional effects: can a theory of utterance interpretation account for emotions in verbal communication? i� Social Science Information, 2009, Vol. 48, No 3, p. 461. 350 Ha�s K Der argentinishce Reggisuer Lisandro Alonso, i� �üdamerika �lo�, 17.04.2010, available a� htp:// .sueda e ika- log.de/u lau /de -a ge i is he-il egisseu -lisa d o-alo so/ (Accessed 02.10.2012) 351 Adria� Pilki���o� Poetic Effects: A Relevance Theory Perspective, Lo�do�, 2000, p. 166. 352 �bid., p. 166. II. Case Studies - 2. Liverpool 89 of hat ould happe i the ase of a o p oposiio al efe t ge e ated a post-a io lag. The ea io s ould e a ifold, a d so hat eeds to e highlighted is the issue of p ese e o l as a theo ei al o ept ithout eal life e a ples . This also helps a s e the uesio of h ie e s a e eage to at h su h a o ple o k of a t as slo i e a.
. . What Do Pictures Want?
If a t-house a d slo i e a il s do ot use the usual a isi de i es fa ou ed the pu li , h a e people ead to spe d t o o o e hou s at hi g pe ulia , eight il s?
Ed Ta speaks of the st u tu e of i te est - that a lot of theo ists a e i te est as the asi e oio hi h a ot e edu ed to o e o o e othe e oio s. I te est d i es us to e pe ie e othe desi ies i the i io al o ld a d to saisf ou u iosit . I te est is the ai e oio fo ie i g oth ai st ea a d a t-house il s, a d i te est is useful if o e seeks a e pla aio as to h e a t to at h the il th ough to the e d. Ho e e , pu e i te est as the ai d i i g fo e i hoosi g to at h a il is ot sui ie t.
I the ase of the slo i e a ith its pe ulia a ai es, o e of the st ategies fo u de sta di g su h o ks of a t ould e the o ept of the a t o k as a ga e. He e the oio of E st Go i h is useful e ause he states that o ep ese taio a e u de stood the ie e u less so e ki d of e isi g s he a is a aila le ithi hi h ele e ts of the o k of a t a e pla ed. I the ase of slo a aio , ga e st u tu es a fo o e of the ai a ai e st ategies. The il Les favoris de la Lune Ota Iosselia i F a e, is the ost o ious e a ple e ause the il s ai sto is o e ted ith o je ts – ho the ha ge the o e s a d/o eak do . But the ie e o l e og izes this e u usual a ai e pate o e the ou se of i e.
The i te est st u tu e is o e ted ith the uesio of h e at h il s. ‘e eaio is the ai easo i the ase of ai st ea Holl ood il s, ut hat of a t-house il s? As these il s ha e a e loose solute a ai e st u tu e a d sto , a e asse t that e at h these il s i o de to i fo ou sel es a out the a othe people li e o a out i u sta es that a e u fa ilia to us? Is this a sui ie t e pla aio ? Ca l Pla i ga add esses this uesio , e plai i g that o esse ial ie i g pleasu e , as he alls it, e ists. I stead the e a e a ious ki ds of pleasu e that a e o tai ed du i g il ie i g, a d he dou ts that a si gle theo ould su up all of the . He a es so e as og ii e pla , is e al e pe ie e, s path , a ai e saisfa io s, a d ele i it .
I the ook What Do Pi tures Wa t?, W.J.T. Mit hell e a i es the ital sig s i i ages – the
353 Ed �. �a� Emotiona and the Structure of Narrative Film, �ah�ah, 1996, p. 85. 354 �bid., p. 34. 355 Pla��i��a, Carl Moving Viewers: American Film and the Spectator´s Experience, �erkeley, 2009, p. 39. 356 �bid., p.. 39. II. Case Studies - 2. Liverpool 90 issue that i age as age akes lai s o us as ie e s. Although Mit hell ai l ites a out stai i ages – pai i g a d photog aphs – this is also t a ea le i il studies. His posiio a e li ked to the su je t ate of il as a age , as ela o ated upo Je ife Ba ke , Vi ia “o ha k a d othe s. But these ideas, as ell as the o ept of the etu ed gaze de eloped Wheele Wi sto Di o , ill ot e of u h help i u de sta di g slo i e a.
The issue of h e a t to at h su h lo g, o i g il s, is also o e ted to the uesio of il s hola ethodolog , hi h ill e tou hed upo late o . Fo o e should app oa h this uesio f o a othe poi t of ie – o e situated i the oade de elop e ts of e e t il theo ; o e p e isel , the u ease ith the il theo p edo i a t si e the s he all g a d a ai es e e de la ed as ha i g e ded. I il theo , the pu lishi g of Maki g Mea i g. I fere e a d Rhetori i the I terpretaio of Ci e a Da id Bo d ell as ega ded as a ate shed. But it is ot as useful fo this p oje t s e dea ou , e ause Bo d ell takes il theo i a othe di e io . B dei i g histo i al i e a poei s i stead of ii al i te p etaio as a e a deali g ith il s, Bo d ell sets a goal to e plo e ho , i dete i ate i u sta es, il s a e put togethe , se e spe ii fu io s, a d a hie e spe ii efe ts. This posiio a o l e applied i a al si g lassi al Holl ood i e a, hi h has a igo ous aesthei s s ste . But is it useful fo slo i e a, he e the a ai e goals e ai u lea a d the pu poses of the di e to a e a iguous?
. . Produ io of prese e as a o e agai st i terpretaio
The posiio of Ge a -A e i a lite a theo ist Ha s Ul i h Gu e ht is useful, although he does ot ofe a ethodolog of ho to a al ze a t o ks. His poi t of depa tu e a also e i u s i ed as the o e agai st i te p etaio – his ook de i es f o the eed to p ese t a alte ai e posiio to the u o tested e t alit of i te p etaio . His p oposiio is o th uoi g he e at le gth: …o je ts of aesthei e pe ie e a d he e it e o es i po ta t, o e agai , to i sist that I a speaki g of `li ed e pe ie e,` o Erleben a e ha a te ized a os illaio et ee p ese e efe ts a d ea i g efe ts. […]
Esse ial is the poi t that, ithi this spe ii o stellaio , ea i g ill ot a ket, ill ot ake the p ese e efe ts disappea , a d that the – u a keted – ph si al p ese e of thi gs
357 �illiam J.�homas.�i�chell What Do Pictures Want?: The Lives and Loves of the Images, Chica�o, 2006, p. 6. 358 Je��ifer �arker The Tactile Eye: Touch and the Cinematic Experience, �erkeley, 2009. 359 Vivia� �obchack Carnal Thoughts: Embodiment and Moving Image Culture, �erkeley, 2004. 360 �heeler �i�s�o� �ixo� It Looks at You: The Returned Gaze of Cinema, Alba�y, 1995. 361 Jea��Fra��ois Lyo�ard The Postmodern Condition: A Report on Knowledge, �a�ches�er, 1979. 362 �avid �ord�ell Making Meaning: Inference and Rhetoric in the Interpretation of Cinema, Cambrid�e, �ass., 1989 p. 266� 267. 363 Ha�s Ulrich G�mbrech� Production of Presence, ��a�ford, 2004, p. XV. II. Case Studies - 2. Liverpool 91 of a te t, of a oi e, of a a as ith olo s, of a pla pe fo ed a tea ill ot uli atel ep ess the ea i g di e sio . No is the elaio et ee p ese e efe ts a d ea i g efe ts a elaio of o ple e ta it , i hi h a fu io assig ed to ea h side i elaio to the othe ould gi e the o-p ese e of the t o sides the sta ilit of a st u tu al pate . ‘athe , e a sa that the te sio / os illaio et ee p ese e efe ts a d ea i g efe ts e do s the o je t of aesthei e pe ie e ith a o po e t of p o o ai e i sta ilit a d u est.
It is i po ta t to ote that the p ese e efe ts, as Gu e ht des i es the , appeal e lusi el to the se ses a d the efo e e a ot e uate the ith Einfühlung - a ea io hi h takes pla e i ou i agi aio .
I te esi gl , Gu e ht also seeks to a s e the uesio a out the spe ii appeal of aesthei e pe ie e. His h pothesis is that hat e all aesthei e pe ie e al a s p o ides us ith a e tai feeli g of i te sit that e a ot i d i the histo i all a d ultu all spe ii e e da o lds that e i ha it.
I his posiio Gu e ht efe s a k to the F e h philosophe Jea -Lu Na , ho, as Gu e ht states, ofe s the ost o i i g a s e to the uesio of hat it is that fas i ates us i the o je ts of aesthei e pe ie e. Na , i his ook The Birth to Prese e, a gues that the e is othi g o e i eso e toda tha the p odu io of et a othe ua e of ea i g […]. What i o t ast e iss i a o ld so satu ated ith ea i g […] a e […] phe o e a a d i p essio s of p ese e. Addiio all , ii g i a othe ook a out i ages a d thei ualiies, Na fo ulates the efe t i t i si to i ages as the po e of the i age.
It is i po ta t to ote that these state e ts should t e ge ealogi all li ed ith, fo e a ple, Bela Balazs, ‘udolf A hei , the oio of photogénie o othe ep ese tai es of ea l il theo , ho ote a out the spe ii it of the il i i age. The t ied to jusif il as a a t fo hi h as the assig e t of the da . I this ase, the dis ussio is ot a out the spe ii it of i e ai i age, ut a out the ate pt to alo ize the esista e to ea i g.
. . Verigo of the detail
The de otees of photogénie, i o t ast to the othe il theo ists a ed a o e, sa the po e of il as o i g ot f o the i age itself, ut f o the il ed o je ts. ‘o e t ‘a desig ates this as verigo of the detail, a d o e ts it to the third meaning o ept de eloped ‘ola d Ba thes. O je ts depi ted the il a e a a ha e a thi d ea i g – the
364 Ha�s Ulrich G�mbrech� Production of Presence, ��a�ford, 2004, p. 107 – 108. 365 �bid., p. XV. 366 �bid., p. 99. 367 �bid., p. 105. 368 Jea��L�c Na�cy Am Grund der Bilder, Zürich, 2006, p. 15 369 Jea� Eps�ei� On Certain Characteristics of Pho�o�é�ie i� Richard Abel (ed.) French Film Theory and Criticism. A History/ Anthology, Vol. � 1907 – 1939, Pri�ce�o�, 1988, p. 317. 370 Rober� Ray How a Film Theory Got Lost and Other Mysteries in Cultural Studies, �loomi���o�, 2001 p. 114. II. Case Studies - 2. Liverpool 92 ie e a see dife e t o je ts, although hat these o je ts a e sig if i g e ai s u lea .
[…] the thi d ea i g, the o e hi h appea s i e ess, as a supple e t i telle io a ot uite a so , a ea i g oth pe siste t a d fugii e, appa e t a d e asi e as Ba thes puts it. It is i po ta t to ote, that, as Ba thes ites, the thi d ea i g is outside a i ulated la guage, ut sill ithi i te lo uio . […] What [the thi d ea i g] distu s, ste ilizes, is etala guage ii is . We a ofe se e al easo s fo this. Fi st of all, [the thi d ea i g…] is dis o i uous, i difere t to the sto a d to the o ious ea i g as sig ii aio of the sto .
This state e t poi ts to the u ease ith i te p etaio as i the ii gs of Gu e ht a d Na . Fu the follo i g Ba the s st uggle ith the i dei a le i a t o ks, the ell-k o oio of punctum is o th e io i g. Pu tu efe s to the o je ts i i ages e igo of the detail agai ! , hi h st ike the ie e . The a e ot pla ed o pla ed i a s e e i o de to e oke punctum, it is al ead p ese t i the i age. But punctum also e ui es the ie e s gaze so that it a o e to the fo e. The e s o de i g that the e pe ie e of ie i g slo i e a a e des i ed as to e st i ke the punctum . Ho e e , this stud ould like to poi t to the oio of li d ield, hi h Ba thes sees as o e of the at i utes of the punctum. Bli d ield is the e te al life of the people photog aphed the te hors-champs f o il theo ould e a o pa iso . It o e ts the i age to eal life, a d i doi g so eates the possi ilit to see the u e pe ted. I te esi gl , despite his a e sio to il , Ba thes a k o ledges li d ield as a o po e t of il , though at the sa e i e he states that i il , as the il i i ages hizz i f o t of ou e es, the ie e has o i e to dis o e punctum i the . “u p isi gl , Ba thes state e t i gs us a k to his essa a out third meaning, he e he de la es that the eal il i alue a o l e fou d i il sills. Ba thes e plai s it as follo s: The still gi es us the inside of the f ag e t. […]. It is ot a spe i e he i all e t a ted f o the il ´s su sta e, ut athe the t a e of a supe io distri uio of featu es of hi h the il , e pe ie ed i its a i ated lo , ould eall e o o e tha o e te t a o g othe s. The sill, the , is a f ag e t of a se o d te t whose existence never exceeds the fragment; il a d sill eet i a pali psest elaio , ithout ou ei g a le to sa that o e isabove the othe o that o e isextracted f o the othe . Fi all , the sill dissol es the o st ai t of il i i e.
This last assu pio o e ts his opi io to slo i e a. “o e of the il s asso iated ith
371 Rola�d �ar�hes The Third Meaning i� Rola�d �ar�hes The Responsibility of Forms, Ne� York, 1985, p. 43� 44. 372 �bid.,, p. 55. �����������������������������Camera Lucida. Piezīme par fotogrāiju,��īg�,�����6,����5,�55,�68�[���������������La chamber claire. Note sur la photographie, 1980]. 374 �bid., p. 68� 72. �5����������������������������Camera Lucida. Piezīme par fotogrāiju,��īg�,����6,����68�[���������������La chamber claire. Note sur la photographie. 1980]. 376 Rola�d �ar�hes The Third Meaning i� Rola�d �ar�hes The Responsibility of Forms, Ne� York, 1985, p. 60� 61. 377 Rola�d �ar�hes The Third Meaning i� Rola�d �ar�hes The Responsibility of Forms, Ne� York, 1985, p. 61. II. Case Studies - 2. Liverpool 93 this phe o e o use lo g, stai shots, he e othi g happe s . Like il sills, these il i i ages also t to stop the il i i e - i a ai e theo su h shots a d episodes a e desig ated as dead i e. The ie e i oth ases - that of il sills a d of slo i e a - is let ith a issio to s rui ize a d study to use Ba thes te s these i ages. Du i g this p o ess the punctum a st ike hi , a d this is o e of the e pla aio s fo the pleasu e de i ed f o slo i e a.
. . Pleasure, pleasure, hat else should ri g o e a here?
As the issue of pleasu e i i e a a ises, it is i po ta t to ote that it does ot see p odu i e to a al ze it usi g the ideas of ps hoa al sis o ideolog ii is . ‘athe , it s p efe a le to efe to Vi to Nell a d his ook Lost i a Book. Although he talks a out eadi g, so e of his ideas a e applied to the il e pe ie e as ell. He speaks a out lucid eadi g as eadi g fo pleasu e. ‘ega di g o e sophisi ated eade s, the e is the pa ado that the a put the sel es i a eadi g t a e hile eadi g light lite atu e as ell as e de a di g o ks. Although it is de ata le hethe sophisi ated i e a audie es a de i e a pleasu e f o a sta da dized Holl ood p odu io , the ost i po ta t poi t Nell akes is that ou as a audie e a e allo ed to e jo the a t o k ithout ei g disse ted ps hoa al sis o o epts of ideolog .
‘etu i g to the ope i g uesio What Do Pi tures Wa t? , it a e stated that o e of the easo s e at h slo il s is the hope of dis o e i g a esi g i ages/details a d also – situaio s – hi h st ike us ith thei punctum o i te sit , o the po e of the i age as a p ese e efe t usi g Gu e ht s te . The le gth episode at the sa ill i Liverpool a e su h a episode, although the uesio e ai s hethe all ie e s ill assig su h a p ese e efe t to it. What e ai s u de uesio at this poi t is the issue of the ea i g of efe ts. Ca the ope ate o u e tl ith p ese e efe ts? The assu pio he ei is that this pe a e t os illaio et ee the t o s ste s a e ega ded as a e epio s ste of slo i e a. A d last ut ot least, e a also at h these il s fo pu e pleasu e.
378 Oscar �ilde The Importance of Being Earnest��L�����,���1��[1895]� 379 �� �he case of slo� ci�ema �hese “sophis�ica�ed readers” are ci�ema�ed�ca�ed vie�ers as �he �a��ral �u��������������������������m� 380 Vic�or Nell Lost in a Book. The Psychology of Reading for Pleasure, Ne� Have� a�d Lo�do�, 1988, p. X���, 2. II. Case Studies - 3. Turin Horse 94 3. The Turin Horse (dir. Béla Tarr, Hungary, 2011) 381 - a st o g ase of pa a et i a aio
What is ost st iki g du i g the i st, e i ate i e look at the dis ussio a out slo i e a is the a solute feishizaio of the lo g take. Addiio all , the fa t that slo i e a ep ese tai es a also e fou d o the lists that t to deli eate the uli ate ep ese tai es of the pa a et i i e a p o pted a tu to the uesio a out the elaio ship et ee the pa a et i ode of a aio a d slo i e a. Du i g the a al sis of the il Liverpool the o lusio a e to the fo e that othe ii al o epts a also e applied to slo i e a il s. The efo e a st o g suspi io a ose that pa a et i it a e et a othe tool ith hi h to app oa h these ase e a ples. The ai is to po de the issue of pa a et i i e a usi g t o e lose, ut a tuall uite dife e t il e a ples – B la Ta ´s The Turin Horse a d F ed Kele e ´sFallen , Ge a , Lat ia . “i pl put, these t o e a ples a e o side ed as t o dife e t t pes of the pa a et i ode – he easThe Turin Horse e e pliies the pa a et i a ai e of the st o g o de , Fallen is a ep ese tai e of the pa a et i it of eak o de . As it ill e sho , su h a dife e iaio a e ade taki g i to a ou t ot o l the stagi g de i es used oth di e to s, ut also o side i g the deg ee of a ai it i ea h il . This hapte ill ope ith the e pla aio of the o ept of pa a et i i e a. The the o ept ill e t a slated i te s of ‘ele a e theo . What follo s is a lose des ipio of the il The Turin Horse the il Fallen ill e u de s ui i the e t hapte . A k o ledgi g the e o ple ise-e -s e ofThe Turin Horse, it ust e st essed that i the ase of this il the see i gl si ple des ipio is al ead a i te p etaio . The a e a o e e ts that a e des i ed a d those that a e let out, the o e ts of stasis that e e st essed a d so o al ead fo a su je i e e sio of the il s a ai e a d its isual o st u io . “i ila l to p e ious e a ples, a shot i this il ote u s fo the hole du aio of the episode. The a e a follo s the t o p i ipal ha a te s a d holds the i the f a e. I doi g so, it a ies out a ide a ge of o e e ts th ough the spa e. The il s e e shot ill e des i ed e a efull , pa i g ate io ot o l to the sto e e ts ut also to the stagi g st ategies of the di e to . The des ipio of the il is follo ed a dis ussio a out epeated a d u i ue e e ts i the il , highlighi g potato eai g as a ase e a ple. The the fou a t st u tu e is e plai ed, a d i all the f e ue a d e epio alit of e e ts i The Turin Horse a e s ui ized. This se io e ds ith a etu to the pe spe i e of the ‘ele a e theo .
381 Béla Tarr´s (born 1955) irst ilm Family Nest premiered in 1977 when he was only 22. He rose to international acclaim in 1994 with his seven hour epic Sátántangó, and after that he has been present on the international ilm festival circuit with all his subsequent ilms. The ilm critics’ love for his very rigorous style culminated in 2011 when his ilm The Turin Horse received the Jury Grand Prix and the FIPRESCI Prize at the Berlin International Film Festival. II. Case Studies - 3. Turin Horse 95 . . Pa a ete i i e a dei iio
The o ept of pa a et i a aio has ee i t odu ed i Da id Bo d ell s ook Narraio i the Fi io Fil ith a efe e e to Noël Bu h. The e he ai tai s that:
Pa a et i a aio esta lishes a disi i e i t i si o , ote i ol i g a u usuall li ited a ge of st lisi opio s. It de elops this o i addii e fashio . “t le thus e te s i to shiti g elaio s, do i a t o su o di ate, ith the syuzhet. The spe tato is ued to o st u t a p o i e t st lisi o , e og izi g st le as oi ated eithe ealisi all o o posiio all o t a ste tuall . The ie e ust also fo assu pio s a d h pothesis a out the st lisi de elop e t of the il .382
I a i te ie Da id Bo d ell states that pa a et i a aio fo e e o es a ase he e the de o ai e fu io of st le has e o e pa t of the hole il s o ga izi g p i iples. 383 As E glish il s hola Ma k Betz ightl e a ks, Bo d ell s o ept of pa a et i a aio has fou d litle e og iio ea s ate the ook s pu li aio .384 I o t ast to Bo d ell ho sees pa a et i it as a ode ist phe o e o o e i g o l a fe il s a d il ake s, Betz lai s that the pa a et i ode has e o e ot o l idesp ead a d pe ei a le, ut also o e e og iza le, at ha le a d a keta le o e the last t e t ea s.385 Thus he p oposes to appl the te pa a et i it to il s ade e o d Eu ope a d also akes a lai to u de sta d ode is ot as a histo i al pe iod, ut as a aesthei fo that a o u a oss ultu es a d i es.386 Ho e e , e e he it is o ious that ith the e e ge e of slo i e a the pa a et i ode of a ai e has o e stepped the o de s of just se e al fugii e il e a ples f o Eu opea i e a of the s a d s, the u de sta di g of the te he ei sill follo s Bo d ell s li e, hi h is e igo ous. He ese es the te o l fo those il s hi h a ai es e hi it a e st o g igou of o de a d epeiio , a d ules out those il ake s hose a aio al st le is ot de isi el pate ed. Fo Bo d ell p e isel he ei lies the dife e e et ee a t i e a a d pa a et i a aio . I a t i e a the st le is sill su o di ated to su h syuzhet-dei ed fu io s as eai g ealis o e p essi e su je i it , autho ial o e ta o a pla a o g su h fa to s.388 Addiio all , st le i a t i e a e o es o e p o i e t agai st the a kd op of lassi al o s a d its te de to de iate f o e t i si o s of the ode 389 as Bo d ell puts it. I o t ast, the il st le i
382 David Bordwell Narration in the iction Film, Madison, 1985, p. 288-289. 383 Jacob Isak Nielsen Bordwell on Bordwell: Part IV - Levels of Engagement in 16:9, February 2005, available at http://www.16-9.dk/2005-02/side11_inenglish.htm (Accessed 3.02.2014). 384 Mark Betz Beyond Europe: On parametric Transcendence in Rosalind Galt, Karl Schoonover (eds.) Global Art Cinema: New Theories and Histories, New York, 2010, p. 34. 385 Ibid., p. 39. 386 Ibid., p. 40. 387 Matthew Flanagan Slow Cinema: Temporality and Style in Contemporary Art and Experimental Film, 2012, University of Exeter, p. 134, https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 388 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 275. 389 Ibid., p. 275. II. Case Studies - 3. Turin Horse 96 pa a et i ode is at least e uall i po ta t to plot pate s.390 But ho is it possi le to t a slate su h a a e tuated aesthei fu io i to the te i olog of the ‘ele a e theo ?
. . The i o po aio of st le i Rele a e theo
“u p isi gl , Bo d ell s u de sta di g of the ie e s a i iies du i g a s ee i g of a pa a et i il a e e ell des i ed usi g the ‘ele a e theo if e dei e pa a ete s, o st lisi p o edu es 391 as oste si e si uli. As “pe e a d Wilso state, oste si e si uli a e si uli hi h a e desig ed to at a t the audie e s ate io a d help the to fo us o the o u i ato s i te ded ea i g.392 O plot le el these ostl e e te si e du aio al shots e ou te ed i a slo i e a il s ea o ea i g, ut the a ui e o e he i te p eted as featu es of pa a et i a ai e. Thus Wilso a d “pe e s thesis hold t ue that Just as the failu e to p o ide ele a t i fo aio at o e le el a e used as a oste si e si ulus at a othe , so the p odu io of a ute a e hi h is appa e tl u i te p eta le at o e le el a e used as a oste si e si ulus at a othe o e. 393
If e o side the lo g du aio of the shots, the la o a t a e a o e e ts a d shot o posiio s as oste si e si uli, hi h lie at the hea t of pa a et i st le, the the e t uesio ega ds the ole of st le i the o u i ai e situaio . I thei ate shed ook Releva e: Co u i aio a d Cog iio Da “pe e a d Dei d e Wilso a gue that “t le a ises .. i the pu suit of ele a e. 394 Ha i g the pa a et i ode of a aio i i d as a e st o g de o st aio of the autho s sig atu e, the follo i g passage a out the o u i ai e ole of st le illu i ates the e spe ii e epio situaio of slo i e a il s, lo ated ithi the f a e o k of il fesi al e o o . “i e this uotaio a e ega ded as e i fo ai e, it is o th uoi g he e at le gth:
F o the st le of a o u i aio it is possi le to i fe su h thi gs as hat the speake takes to e the hea e s og ii e apa iies a d le el of ate io , ho u h help o guida e she is p epa ed to gi e hi i p o essi g he ute a e, the deg ee of o pli it et ee the , thei e oio al lose ess a d dista e. I othe o ds, a speake ot o l ai s to e la ge the utual og ii e e i o e t she sha es ith the hea e ; she also assu es a e tai deg ee of utualit , hi h is i di ated, a d so ei es o u i ated, he st le.395
“u el i this ase “pe e a d Wilso a e talki g a out a eal-life situaio , hile e a e o side i g o ks of a t. Ne e theless, this uotaio highlights the st o g o ds et ee
390 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 275. 391 Noël Burch Theory of Film Practice, London, 1973, p.278. 392 Deidre Wilson, Dan Sperber Relevance theory in Laurence R. Horn & Gregory Ward (eds.) Handbook of Pragmatics, Oxford, 2004, pp. 607 – 632, available at http://www.dan.sperber.fr/?p=93 (Accessed 14.07.2013). 393 Ibid. 394 Dan Sperber, Deidre Wilson Relevance. Communication and Cognition. 2nd edition, Oxford, 1995, p. 219. 395 Ibid., p.217-218. II. Case Studies - 3. Turin Horse 97 the se de of a ute a e a d its e ei e . I the ase of i e a though, the uesio of hethe the ie e is apa le of e og izi g these st lisi featu es a ises. Opi io s o e this uesio dife uite e pli itl . Fo e a ple, Ge a og ii e ps hologists “tephe “ h a et al. i assessi g the ole of uts i a il a e to the o lusio that the fo al st u tu e of the il ate ial is i e e e t fo the ie e s – the e e t-i he e t featu es of the depi ted a i it se ue es e e of fa o e g eate i po ta e.396
Ho e e , o e i g the pa a et i ode of a ai e, Bo d ell e p esses the opi io that i the ase of these il s the ie e s ai goal has to e to ap out the st lisi pate of a pa i ula il , ut it is useless to t to uild a i te p etaio of a e tai st lisi pa a ete , e ause If a il s st lisi de i es a hie e p o i e e, a d if the a e o ga ized o e o less a o di g to igo ous p i iples, i depe de t of syuzhet eeds, the e eed ot oi ate st le appeali g to the ai o side aio s.
B sa i g this Bo d ell a ts adi all agai st the i te p etai e u ge of il ii s a d u de li es the a it a i ess of the st lisi hoi es i pa a et i ode.398 Bo d ell e p esses the o i io that the st lisi efe ts eated the pa a et i ode a e so i p essi e that ie e s a e a le to egiste the 399 a d this stud is i ag ee e t, e ause i the ase of pa a et i st le the stagi g featu es a e so e pli itl la o a t that the a ot go u oi ed a i e a-edu ated audie e.
Cu iousl e ough, if, a o di g to Bo d ell, the st lisi hoi es a e so i p essi e a d i e a edu ated audie es a e a le to egiste the a d thei a iaio s th oughout the il , the the sea h fo ele a e i a pa a et i il e o es a lea - ut a d eas task. Ho e e , the uesio a ises of hethe the sea h fo ele a e, that is, fo the st lisi pate s i a pa a et i il is e ough to des i e the ie i g e pe ie e of su h a il . This issue ill e tou hed upo late o . The il s st u tu e has to e des i ed as a sta i g poi t fo the a al sis.
. . Des ipio of the il ’s st u tu e
The Setup i utes – The il ope s ith a a ato s oi e, ho, hile the shot sta s la k, tells the sto ho i i Tu i , F ied i h Nietzs he es ued a ho se f o a a a . It as the egi i g of his ad ess, ut of the ho se e k o othi g. I the se o d shot of the il the a e a pa s alo g ith a ho se s jou e th ough a s a t la ds ape fo se o ds a d e ds ith a fade out.
396 Stephen Schwan, Bärbel Garsoffky, Friedrich W. Hesse Do ilm cuts facilitate the perceptual and cognitive organization of activity sequences? in Memory and Cognition, 2000, 28 (2), p. 221. 397 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 283. 398 Ibid., p. 283. 399 Ibid., p. 283. II. Case Studies - 3. Turin Horse 98 The e t shot shot . a ou es the i st da . F o o o the dail oui es a e ei g epeated fo si da s ith i is ule ha ges i isual desig . We a also des i e these dail oui es as pa a ete s as it is u de stood Da id Bo d ell, so that the hole sto a e st u tu ed a ou d the , a d the dife e es et ee the epeated e e ts a d u i ue e e ts i the a ai e a e dis e a le. “hot . The ho se a d the a app oa h thei ho e. The daughte o es to g eet the . The i g the ho se i to the sta le a d the a e a a o pa ies the . The daughte gi es it so e ha to eat. The oth ha a te s put the a iage i to the outhouse, ut the a e a i st f a es this a io f o the doo a of the sta le, a d the o es out i to the a d. The fathe e its the f a e o the ight. The a e a a o pa ies the daughte hile she takes so e lau d f o the li e i the a kg ou d, e t the fathe appea s i the shot a e pi ki g up so ethi g f o the g ou d. Both of the o e to the a e a a d e it the shot o the let. The shot sta s e pt fo se e al se o ds. “hot . The daughte helps he fathe u d ess; it e o es lea to the ie e that the fathe s ha d is da aged. Ate a ds the fathe la s do to est. The a e a follo s the daughte as she olle ts so e potatoes f o the hest, puts the o the sto e to oil, a d sits do i f o t of the i do a d looks at the sto outside. The oif of the daughte sii g at the i do lasts fo o e a d a half i utes ith the a e a slo l ha gi g posiio . Whe the o posiio ea hes a a e a posiio ith the daughte see f o ehi d i a lo g shot, the shot lasts fo half a i ute. “u h o e ts of stasis a e e o o i the t aje to of the a e a o e e ts i the il . The se ial ha a te of the il s s o e, hi h o sists of dife e t a iaio of the sa e the e a d hi h a o pa ies the il o a d the , st esses the se ial ha a te of the isual a ai e. “hot No. sta ts ith a stai lose-up of the potatoes oili g fo se e al se o ds o e t of stasis . Whe the daughte o es to the sto e a d takes the out of the pot, the a e a sta ts to o e o se i g ho she a a ges the ta le. Whe the ta le is set, the a e a li ge s o the s e e fo se e al se o ds efo e it agai sta ts to a o pa the daughte as she goes to the sleepi g fathe a d a ou es that e e thi g is ead . The eat suppe , ith the a e a steadil at hi g as the fathe s hot potato is peeled. This is follo ed a stai f a e of a lose-up of the fathe as he eats the potato. Ate a ds the fathe sits do i f o t of the i do , he eas the daughte i ishes he suppe a d lea s up. The daughte e its the shot o the let, he eas the shot e ds ith the a e a slightl zoo i g i o the fathe i f o t of the i do . This o e t of stasis lasts fo a out ele e se o ds. “hot . The daughte a i ades the doo a d puts so e ood i to the sto e. The fathe , of- s ee , e ou ages he to go to sleep; she s it hes of a fe la ps a d ashes he fa e. The daughte e its the shot hile e see so e light o i g f o the of-a ea. I the da k ess, ith o l the sto e u i g a stasis shot that lasts fo o e t o a d a half i utes , the talk a out the ood o s, hi h, fo the i st i e i ea s, a e sile t. The do t k o hat to ake out of it. Ate uliple ie i gs it e o es lea that at this ea l poi t i the il - II. Case Studies - 3. Turin Horse 99 its th i ute - the e is the i st sig of the o ld o i g to a e d this ill e the o e all the e of the il . Thus, e a i fe that the ute a e/ essage of the il ill e the de a of the o ld. “o ith this state e t the setup a d the i st da e d.
Co pli aio a io i utes – “hot . Title The “e o d Da . “hot . I side the house see i the lo g shot , the light is slo l gei g ighte . The daughte e te s the e pt shot, puts so e ood i to the sto e, takes t o u kets a d goes outside to a ell. The a e a follo s he a d o se es ho she fet hes so e ate f o the ell, the she a d the a e a etu a k ho e. The shot e ds ith the daughte lea i g agai st the doo . “hot . A e e se shot to the fathe ho akes up f o the doo sla i g. This e o o se ue e of shot- e e se-shot i lassi il aki g is a e u o o featu e fo the edii g desig of this il . The daughte o es i to the shot a d helps hi d ess. The a e a lea es the fathe sii g o the ed a d a o pa ies the daughte gei g a otle of a d f o the shelf a d o i g a k to the ta le, he e she a d he fathe d i k so e a d . The fo us a d a stai shot o the fathe s fa e. Cut. “hot . A lose-up of a o l. The daughte o es f o the ight a d ashes he fa e. The she takes the o l, hi h is pla ed e t to the i do , a d goes to the a e a, he eas the a e a zoo s out fo se e al ete s u il the daughte pou s out the ate i to a of-s ee pla e ight past the a e a. The oth – the daughte a d the a e a - o e a k i a hu ith the fathe al ead aii g i the doo a . The shot o i ues ith oth ha a te s headi g to the sta le. The pull the a iage out of the outhouse a d the ho se out of the sta le; the daughte o es i a d out of the shot. The ho se efuses to o e. The dis ou t it a d i g oth the ho se a d the a iage a k. “hot . Agai i the o e ith the fathe s ed. The shot sta ts ith a e pt f a e. The fathe o es i follo ed his daughte , ho helps hi ha ge his lothes. The the fathe e its passi g the a e a o the let, a d the daughte o the ight. Ate the ha e let the shot it e ai s e pt fo se e al se o ds, the a ut ith a sou d idge of hoppi g oods to shot . “hot . The fathe hu ks i e . The a e a zoo s slo l out of the lose-up a d e eals the daughte ashi g lothes o the let side of the f a e – the sou d of ate a e hea d efo e e see the daughte sta di g at the o l – this a e ega ded as si ila to the sou d idge et ee the p io t o f a es. The fathe o es to the fo eg ou d a d i es a ashi g li e. He spa s it, lea i g the f a e o the ight, ith the li e ea hi g i to the of-s ee a ea. The daughte ha gs lau d . The shot e ds ith a le gth stai f a e o the li e . As e io ed a o e, this is o e of the isual st ategies of the il he e a e a i el o i g shot ote e ds ith a stai f a e. II. Case Studies - 3. Turin Horse 100 “hot . It is a e lo g shot ith the daughte sta di g at the o l i the a kg ou d. “he takes the o l, o es to the a e a a d passes it o the let, a d pou s the ate out so e he e ehi d the a e a, ehi d the s e e. This shot is a a iaio of the a io i shot . , o l this i e the ise-e -s e is dife e t. The a e a pa s to the ight a d dis o e s the fathe o ki g at a o k e h, f a ed i a ediu lo g shot. This shot o posiio eates a te sio et ee the pla es of the shot – the daughte fa a a i the a kg ou d a d the fathe e lose to the a e a i the fo eg ou d. The a e a ef a es so that the e is a lose-up of the fathe s ha d aki g holes i a leathe elt. The the a e a etu s to a lose-up of the fathe s fa e. The daughte o es to hi a d a ou es that di e is ead . Ate di e togethe - the a e a o e t ai g o the daughte s ediu lose-up - the daughte does the ashi g up. The a e a tu s to the ight a d e eals the fathe sii g i f o t of the i do . As e al ead it essed, su h a e a o e e ts that e eal, as a su p ise, a igu e o the ight o let, elo g to the il i t i si o . The daughte he ks the i e i the sto e a d sits do i the fa let. Befo e the ut the e is a stai shot of this s e e fo se e al se o ds. “hot . The fathe akes up f o k o ki g at the doo . A eigh ou has u out of a d a d has o e to ask fo so e. The daughte takes a otle f o the eigh ou a lose-up of the otle a d goes st aight to the a e a, hile the a e a zoo s out fo se e al ete s as i shots a d . Ate she has illed up the otle, the otle a d the a e a etu to the ta le he e the fathe a d the eigh ou a e sii g. The a e a looks o e the fathe s shoulde at the eigh ou , ho deli e s a lo g o ologue p o lai i g that the o ld has ee de ased the , ut he deli e s o e pla aio ho the a e. The fathe sa s that all his talk is u ish. The eigh ou gi es the so e oi s fo the a d a d lea es. The daughte gathe s the oi s, goes to the i do a d togethe ith the a e a at hes the eigh ou lea i g a oss the eado fo al ost a i ute – e e ou te a othe o e t of stasis i the a e a s jou e .
Develop e t I i utes - “hot . The Thi d Da . “hot . The daughte akes up a d d esses. “he takes the u kets a d goes to the ell. The a e a a o pa ies he i oth di e io s. “hot . The fathe gets up. He see s to a ake the sou d of the u kets. The daughte o es a d d esses hi , a d the he d i ks his usual glass of a d at the ta le. Befo e e ii g he shouts fo his oat. These t o episodes shots a d should e highlighted e ause fo al ost te i utes e it ess dail tasks hi h a e epeated e e o i g, ut fo the ie e that ea s it essi g these a io s i thei full du aio . These a e the i st te i utes i a usual da fo the Ohlsdo fe fa il . This is a fo the ie e to e o e i e sed a d a ied a a the II. Case Studies - 3. Turin Horse 101 see i gl u li ited du aio of the shots. What akes these t o episodes dife a litle f o othe episodes, hi h all sho dail deeds i thei full du aio , is the fa t that i o pa iso to ashi g lau d o hoppi g ood, d essi g o gei g d essed o gei g ate f o the ell sho a io s i thei full du aio ith o o issio s. I o pa iso , the p o ess of doi g lau d a e ut sho t fo the pu poses of il i g, so that the eal du aio of the a io ill ot al a s e ual its du aio o s ee . If e take i to a ou t that the uts o edii g e ai altogethe u oi ed the audie e, the shots . a d lite all are life, t i g to hide the il i de i es hi h a e ei g used. “hot . The fathe app oa hes the sta le. He ope s the doo a d goes i . He takes a pit hfo k a d sta ts to u k out the pla e. The daughte o es i , takes a push a t a d a ts the u k a a . The a e a follo s he as she e its the sta le, e pies the push a t a d etu s. The the a e a a o pa ies the fathe as he takes a u ket, goes out a d i gs ate fo the ho se. The daughte sa s that the ho se is ot eai g, ut the fathe i sists that she ill. Befo e the lea e the daughte loses the doo of the sta le. “hot . The daughte takes plates out of a up oa d a d puts the o the ta le. As usual, she takes the potatoes out of the pot. Both ha a te s eat thei di e , ut the a e distu ed a oise. The fathe ods to the daughte to i d out hat is goi g o . The daughte lea es the f a e o the ight, hile the fathe o i ues eai g ith a stai a e a shot o hi fo se e al se o ds a o e t of stasis agai . “hot . A e lo g shot of a la ds ape. We see a a iage o i g o the ho izo . As it app oa hes a d the a e a zoo s out, e dis o e that this is a tuall a ie out of a i do he e e e ou te the i do oif o e agai . Of-s ee e hea oth ha a te s talki g. The a i i g people a e G psies. The fathe o de s the daughte to hase the a a . The a e a zoo s i as the G ps a iage stops at the ell fo ate . The daughte o es a d tells the to lea e, ut the i ite he to o e ith the to A e i a. “he efuses. The fathe , u si g, o es ith a a e a d hases the G psies a a . The lea e, ut p o ise to etu . The oldest G ps gi es the daughte a ook. Of-s ee e hea the G psies u si g D op dead, d op dead . “hot . A lose-up o the plates ith potatoes. The daughte lea s the ta le a d sets do the e l e ei ed ook. “he sits do o he ed a d sta ts to ead out loud, e slo l . While she eads the a ato tells us of the sto outside.
Develop e t II i utes - “hot . The Fou th Da . “hot . The daughte puts so e i e i to the sto e, puts o a s a f, takes the u kets a d goes to the ell. The a e a sta s i the doo a a d il s the daughte i a e lo g shot. The daughte ope s the ell, ut the ushes a k to the house a d alls the fathe . T pi all fo the spa se dialogue i this il , she sa s The ell . No the fathe o es ith he a d the a e a a o pa ies the . Both ha a te s a d the a e a look i to the ell – the e is II. Case Studies - 3. Turin Horse 102 o ate . The fathe u ses of-s ee . The etu to the house a d the a e a holds a stai shot o the fathe thi ki g, lea i g the daughte out of f a e o the let. He asks fo a d , hi h the daughte se es o i g i to the f a e f o the ight ossi g the deg ee li e . “hot . I a ediu lose-up the daughte ope s the doo to the sta le. “he a d the a e a goes to the ho se a d asks h it o t eat. “he gathe s the u k i to a push a t a d takes it out outside the f a e , ith the a e a e ai i g i the sta le. “he puts the push a t a a so e he e ehi d the a e a. A o i uous shot – the daughte takes a u ket a d lea es the shot th ough the sta le doo o the ight ith the a e a e ai i g i side. “he i gs so e ate fo the ho se a d e ou ages he to d i k. The daughte loses the doo f o the outside; the a e a sta s i side ith the ho se. A stai o the ho se. At this o e t a o of this il a e dei ed as a lo g take that ote i ishes ith a lo ge stai shot o so ethi g – eithe a e pt shot, o a o je t o a pe so . O , i this ase: o a ho se. “hot . I the house the fathe gathe s so e thi gs a d o de s the daughte to pa k - the a e ot sta i g he e a lo ge . We it ess the daughte as she pa ks thi gs i ludi g a po t ait of he othe as e a guess , la kets, a d a d potatoes. The the a e a pulls out a d e see the fathe gathe i g thi gs i the iddle of the house. The daughte o es i a d out of the f a e helpi g hi . The fathe tells the daughte to get the ha d a t. A sho t o e t of stasis i the jou e of the a e a ith the fathe sta di g i the e t e of the oo . I po ta tl , the fa t that the daughte pa ks a po t ait of a o a that the ie e ill i te p et as he othe - h else ould she take the a e to pa k it - has o fu the i pli aio s to the il s plot. O e agai B la Ta does t sho i te est i a situaio o i thi gs that a il ake o ki g i the Holl ood t adiio ould de elop fu the . The po t ait of the othe e ai s a false da gli g ause. “hot . The daughte ope s the doo of the outhouse, takes out a s all ha d a t a d i gs it to the f o t of the house, a d e-e te s the house. The fathe o es out a d goes to the sta le – the a e a follo s hi . He i gs out the ho se a d takes he to the a iage, hi h is o full pa ked. He ies he ehi d the a iage. The daughte sta ts to pull the a iage. The shot e ds ith a lose-up of a heel of the a iage, holdi g fo se e al se o ds. This f a e a e ega ded as a lassi pillo shot. “hot . The ast la ds ape ith the ho izo . The fathe a d the daughte disappea ehi d it, ut ate a i ute the o e a k a d lea e the shot. Ate the ha e let, the shot sill lasts fo se e al se o ds. “hot . I f o t of the house. Both ai ha a te s a i e. The fathe takes the ho se a a , hile the a e a e ai s ith the daughte as she sta ts to u pa k the a iage. Whe the fathe etu s he helps to e pt the a iage, a d fo al ost th ee i utes the o i ue this task. While the fathe etu s the ha d a t, e it ess the daughte goi g i a d sii g do i f o t of the i do . The fathe etu s, pi ks up the ho se s olla a d also goes i side, hile the a e a sta s outside the house. The a e a zoo s i e slo l o the daughte II. Case Studies - 3. Turin Horse 103 o the othe side of the i do , a d li ge s o the s e e fo al ost a i ute a d a half.
The li a i utes – “hot . The Fith Da . “hot . As the fathe akes up, the daughte o es i a d helps hi d ess. The go to the ta le a d the fathe d i ks ot o l his glass of a d , ut also takes a gulp f o the otle. The shot e ds ith a stai i age of t o glasses a d a e pt otle o the ta le. “hot . The fathe ope s the sta le doo a d the a e a zoo s i o a e t e e lose-up of the ho se, ut the zoo s out ate se e al se o ds. The fathe takes the olla of the ho se a d lea es the shot o the ight. The daughte sta ds eside the ho se, a d the loses the doo . The shot e ds ith a stai shot o the sta le doo . “hot . A fuzz i age of the la ds ape. The a e a zoo s out a d e see the fathe sii g i f o t of the i do . He has falle asleep. As the a e a dollies a k a ds, e dis o e the daughte sii g at the ta le, se i g. The daughte the e its the f a e o the let, ith the fathe sill sleepi g i f o t of the i do i the a kg ou d. The daughte o es a k i to the shot f o the let a d sets the ta le. The a e a t a ks a litle it to the ight, so that the ta le is i the shot. I p oile, oth ha a te s eat potatoes. Ate a hile the fathe goes a k to his pla e i f o t of the i do a d the a e a follo s hi . The take e ds ith a stai shot of the fathe sii g at the i do . “hot . A da k shot ith othi g isi le i it. The daughte asks of-s ee : What s the da k ess? The fathe o de s he to tu o the light. The daughte lights the la ps o e ate the othe ith i e f o the sto e. “lo l e e og ize the fathe sii g i f o t of the i do . The daughte sits do o he ed. “hot . A lose-up of a la p. The light i it fades to da k. “hot . Da k ess. The daughte t ies to light a la p a d the fathe o es to help he . He o de s the daughte to i g so e e e s. “he i gs so e, the fathe lights a la p. The poi t out that e e the e e s a e u i g out. The fathe e ou ages he to go to ed - to o o the ill t agai . I the da k ess e hea the i d outside. The a ato s oi e tells us that the fathe a d the daughte go to thei eds a d fall asleep. The sto has su sided. Dead sile e o e o es the house.
Epilogue i utes – “hot . The “i th Da . “hot . Musi egi s hile the shot sta s la k. “lo l it gets ighte . Both ha a te s a e sii g at the ta le. Whe eas the fathe eats, the daughte does ot. He e ou ages he to eat. Fo se e al se o ds the e is a stai shot o oth of the sii g at the ta le a ta leau . A slo fade out. II. Case Studies - 3. Turin Horse 104 . . Repeated e sus u i ue e e ts of the u da e I the i t odu io to the hapte the lai as ade that the il The Turin Horse is a lea e a ple of pa a et i a ai e i a st o g se se. I o de to p o e this e ha e to o situte a i t i si o that is de eloped a d a ied th oughout the il . I te s of il g a a , the o i g a e a i The Turin Horse featu es as this i t i si o . E e o e, the isual te sio i the il is eated et ee the o i g a e a a d o e ts of stasis i its a a oss the spa e. This igo ous ise-e -s e is e plo ed to depi t a si ple plot, hi h suppo ts Da id Bo d ell s lai that pa a et i it is possi le o l i e si ple sto ies.400 Fo the pu pose of a al sis the plot should e sepa ated f o the st le fo the i e ei g, a d The Turin Horse should at i st e s ui ized f o the poi t of ie of the sto . As e o es lea f o the il s des ipio , the sto de elops ithi alte i g episodes ith epeated e e da a io s a d u i ue o es that ofe a ha ge f o these u ifo , i eso e a i iies. “o the u i ue e e ts su h as lau d o hoppi g oods alte ate ith epeated a i iies su h as ooki g a d eai g potatoes, o sii g i f o t of the i do . The u i ue a i iies follo the p i iple that o e o t o u usual a io s take pla e e e da . O the se o d da , a eigh ou isits fo a d . O the thi d da , a a iage ith g psies stops to d i k f o thei ell, ut the fathe hases the a a . O the fou th da , thei ell is d , hi h is ee see the fathe as a ad sig , so the pa k a d d i e a a . O the ith da , the la ps a d the e e s u out. O the si th a d last da of the plot, oth ha a te s sit at the ta le. Whe eas the fathe eats the potatoes, the daughte sits sill. The fathe e ou ages he to eat. These a e i o e e ts that ould ot e dese i g of the il ake s o the audie e s ate io i othe il s, ut the a e p e isel hat i gs ha ge i to the epeii e u da e a d o es the plot fo a d. But also the a the il ake st u tu es the il , di idi g it i to si da s, sha pe s the ie e s ate io to the fa t that the e has to e so e ki d of a de elop e t o e the ou se of the da s. I its st u tu e The Turin Horse is e lose to Jea e Diel a , Quai du Co er e, Bru ells Cha tal Ake a , ut ith less of a ha sh e di g. “i ila to Ake a s il , the sto o es to the fo e th ough i o ha ges i the e e da oui e. O e a su su e the elaio of oth il s to the depi ted e e ts ith a uotaio of A d Bazi , he he ites a out the il U erto D. di . Vito io De “i a, Ital , , hi h a e ie ed as a p ede esso of the u e t slo i e a:
Die e zähle is he G u dei heit des Fil s ist i ht die Episode, das E eig is, de Theate oup, de Cha akte des P otago iste , so de die Aufei a de folge de ko k ete Auge li ke des Le e s, o de e kei e de A sp u h e he e ka , i hige zu sei als de a de e: Ih e o tologis he Glei h e igkeit löst s ho o P i zip he jede d a ais he Katego ie auf.401
400 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 289. 401 Robert Fischer (ed.): André Bazin Was ist Film?, Berlin, 2009, p. 377. II. Case Studies - 3. Turin Horse 105
These ha ges a e e e ai u oi ed to a less ate i e ie e , ut that is p e isel hat u ites all slo a aio il s – the a e halle gi g to the audie e.
. . Eai g potatoes – a e e da itual The potato-eai g is a dail itual. Let s t a e ho it is staged th oughout the il , e ause the dife e es e o e isi le th ough i o ha ges i the ise-e -s e. O the i st e e i g the daughte olle ts the potatoes f o a hest, ooks the a d the puts o the ta le. While the eat the a e a i st t a ks a lose-up o the fathe s o e health ha d ith hi h he i paie tl peels the hot potato. The the a e a pulls a k to a ediu lose-up o the fathe eai g, hi h lasts fo a out half a i ute. Du i g suppe o the se o d da the a e a o e t ates o the daughte eai g fo al ost a i ute, ith he fathe see f o ehi d. O the thi d da , e see oth eate s i p oile at the ta le eai g potatoes fo eakfast i a ediu lo g shot. I the ate oo , the potato- eai g a i it itself is let out, a d e it ess o l ho the daughte e o es the dishes f o the ta le. O the fou th da the e is o potato-eai g episode, ut o the ith da e it ess oth eate s agai at the ta le eai g i p oile. Ea h i e the a de i g a e a stops o this a i it , a d although the f a i g ha ges f o o e potato-eai g s e e to a othe , hat u ites the is the fa t that du i g the eai g itself the a e a al a s sta s put. I the ase of these epeated a i iies e a speak a out the se ializaio of the pa a et i a ai e – the autho takes a pa a ete i this ase it is a pa i ula situaio a d a ies it a oss the il . But it s up to the ie e to t a e the i is ule dife e es i ea h ise-e - s e e. Da id Bo d ell states that pa a et i i e a takes the ie e s apa it to the edge. 402 He supposes that the ie e ill e og ize the pate i stead of oi i g all of the pa a et i a iaio s.403 I this ase the ie e does t oi e the i is ule dife e es i the sei g so u h as the epeated use of the situaio itself. Bo d ell e ko s that the ie e , as the de otai e ea i g does ot ofe a thi g e , goes fo the o otai e efe t.404 At this stage e e ou te a dife e e et ee the supposiio s of Da id Bo d ell a d the de la aio of the il ake . Na el , he eas Bo d ell st esses the ea i g of the o otaio fo the plot of a pa a et i il , B la Ta a e tuates that his il s a e ot ea t to e i te p eted. He states that i his il s he a ts to e lose to life tha to i e a.405 He a ts to a hie e this it essi g a i iies that othe il ake s ould ha e let out ooki g potatoes, d essi g a d u d essi g . Bo d ell also states that i a pa a et i il the sto a ui es a spaial ualit , e ause the
402 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 306. 403 Ibid., p. 306. 404 Ibid., p. 306. 405 Konstanty Kuzma Béla Tarr on Turin Horse, in East European Film Bulletin, 15. Feb. 2011, available at http://eefb.org/archive/february/belatarr-on-the-turin-horse-2/ (Accessed 2.02.2014). II. Case Studies - 3. Turin Horse 106 sto has ee st et hed.406 I the ase of The Turin Horse this o u s i e e s e e he e all the i is ule stages of su h u da e a ts as potato-eai g, d essi g, gei g the ate a e displa ed. E e step of these a i iies is o th sho i g, a d is hat eates a o e load of i fo aio fo the ie e . A d Bazi dei es it as goi g to the edge of the du aio . Othe a i iies that fo a aio al oifs a e the i gi g of the ate f o the ell, d essi g o u d essi g the fathe , sii g i f o t of the i do , a d u ki g out the sta le. These e e ts a e i te la ed ith the u i ue a i iies e io ed a o e, ut the epeated a i iies fo the tedious pa t, he e oi g happe s . The e te ded le gth of the shot i ites the ie e to s a the f a e fo i o dife e es i the sei g a d a e tuates the e pe taio s fo a dife e e. The u i ue a i iies, like the a i al of the g psies, possess the p o ise of deli e i g a e plot tu a d ousi g the ie e f o the letha g aused the epeiio of dail oui es. B la Ta states that he a ted to look at thi gs a d sa , this is also i fo aio , a d if so e od is liste i g that is also i fo aio .408 He de la es that, i his opi io , e e thi g a fo a sto . Ho e e , if that s so, the does the a t s he e of The Turin Horse ot dife f o sta da d sto telli g st ategies?
3. 6. Act scheme in The Turin Horse Whe eas the di isio of The Turin Horse i to si da s B la Ta is jusiied o the a ai e le el e ause ith ea h da the doo o es lose to the lo el fa stead, the fou a t st u tu e asts a dife e t light o the il s ie i g p o ess. The poi t of depa tu e he ei is hat has ee e phasized K isi Tho pso , that e e – i utes a sig ii a t e e t happe s i a il . These a ts, as she a es the a d as a e e io ed a o e, ha e oughl the sa e le gth a d st u tu e of the a ai e i e i to la ge lo ks. The supposiio is that pa allel to the si da st u tu e the a t st u tu e also ope ates in The Turin Horse, ut ith a dife e t goal. Whe eas o e the si da s the a ai e e o es o e a d o e de se, ith ea h da i gi g i e ad e s, the fou a t st u tu e i gs fo th the dis o e that e e thi t i utes a ajo e e t o u s i the il , hi h pulls the ie e out of the auto ais of his t a e. The lai he ei is that the it essi g of the e e da oui e ith al ost the sa e a i iies t a sfe s the ie e i to a t a e-like state of i d . Thus, the fou a t s he e se es ete i te s of sheddi g light o the fu io al pe spe i e of the il . As The Turin Horse lasts fo al ost t o a d a half hou s, it o sists ot o l of a set-up, a o pli ai g a io , a de elop e t, a li a a d a epilogue, ut also of a supple e ta se o d de elop e t pa t. Mea i g, the set-up lasts fo i utes, the o pli aio a io fo
406 David Bordwell Narration in the Fiction Film, Madison, 1985, p.276. 407 Robert Fischer (ed.) André Bazin Was ist Film?, Berlin, 2009, p. 377. 408 Virginie Sülavy Interview with Béla Tarr in Electric Sheep: a deviant View of Cinema, 4.06.2012, available at http://www.electricsheepmagazine.co.uk/features/2012/06/04/the-turin-horse-interview-with-bela-tarr/ (Accessed 2.02.2014). II. Case Studies - 3. Turin Horse 107 , de elop e t I fo , de elop e t II fo a d the li a fo i utes. It is o pleted a epilogue, hi h, as usual, is kept e sho t - o l i utes. The Turin Horse the efo e se es as a e a ple fo K isi Tho pso s theo that it is t the u e of pa ts that is de isi e, ut thei le gth. It is i po ta t to st ess that ost of the i e it is ot the u i ue e e ts that d i e the sto fu the ; the usuall tu out to e false tu i g poi ts. Fo e a ple, the isit paid the eigh ou at app o . the i ute a k, has o i pa t o the sto itself. It loses the o pli ai g a io . But, as it is o o i slo i e a il s, the tu i g poi t does ot lead to a thi g. It eithe se es to pull the a ai e fu the , o holds so e se et to e dis losed late o . Although the eigh ou s spee h see s to e ha ged ith sig ii a e a d see s to e ope fo i te p etaio , B la Ta st esses that This is so eo e s o ologue ho just eeds so e spi it, he s just o i g a d aii g fo his otle a d du i g all this i e he is talki g talki g talki g talki g, like so eo e i the e t a , ou k o , a d that s si ple; othi g o e. 409 He e e e ou te a lash et ee the ie e s e pe taio s a d the s e e s a tual ea i g. Na el , the ie e ith he e pe ie e i i e a e pe ts that the eigh ou , ho is the i st isito to the lo el ho estead du i g the il , ill i g so ethi g ith hi o ill do so ethi g that ill push the sto fo a d – this is the t adiio al fu io of su h a igu e i a lassi il . At i st it see s to e so he e, e ause he talks a out the doo ed o ld, hi h, as e ill late o e to u de sta d, is the the e of the il . But, o e the ou se of the isit his talk gets o e a d o e o fused. This allo s us to ag ee ith B la Ta that this is just the o ologue of a d u ke pe so .410 It helps to de elop a pa i ula at osphe e i the il , ut does ot ad a e the sto i lassi al te s. Agai e e ou te a tu i g poi t ith o fu the i pli aio fo the plot - it si pl helps to st u tu e the il a d to a ake the ie e s i te est. The e t tu i g poi t is of si ila atu e – the a i al of the g psies at p e isel i utes ate the p e ious tu i g poi t . Ho e e , as is usual i slo i e a, this i ide t hi h see i gl pushes the sto fu the , a tuall leads to othi g. Although the G psies e e th eate to etu , this does ot o e to pass. “i ila l , although the daughte e ei es a ook as a git f o the old G ps , it also has o efe t o fu the de elop e ts. I deed, Ta o e ts that the ook is a ki d of a i-Bi le , the te t ite the il s ite László K asz aho kai, ith efe e es to F ied i h Nietzs he.411 A e pe ie ed il audie e though, used to as i i g i te p etaio to all o s ee e e ts, ould e te pted to e plai the appea a e of the ook so eho . But, as it ields o o se ue es fo fu the plot de elop e t, the ook is a false
409 Paul Sbrizzi A Conversation with Béla Tarr in Hammer to Nails, 3. November 2011, available at http://www. hammertonail.com/interviews/a-conversation-with-bela-tarr-the-turin-horse/ (Accessed 04.01.2013). 410 Still, at Mubi there is a long discussion about the meaning of the neighbour´s speech, where thetheyy placeplace it next to Samuel Beckett, see http://mubi.com/topics/the-turin-horse (Accessed 14.06.2013). 411 Wikipedia The Turin Horse available at http://en.wikipedia.org/wiki/The_Turin_Horse (Accessed 29.11.2012). II. Case Studies - 3. Turin Horse 108 da gli g ause. The e t tu i g poi t, hi h leads us i to the li a , is thei lea i g ho e a d etu i g et ee the th i ute a d th i ute this is a ase of a le gth tu i g poi t , ut also this u i ue a i it has o efe t. The e is eithe a e pla aio of hat the fathe is af aid of, o of h the etu ed. We it ess o l the a i it itself hi h se es as a ki d of at a io i gi g the ie e out of his possi le letha g i the e pe taio that so ethi g is goi g to happe , ut these hopes a e let u fulilled. The li a is fo ed the e e ts i da i e, as all the la ps a d e e the e e s go out, so that the feeli g of i pe di g doo o l st e gthe s. The il s i al tu i g poi t is the si th da , he , as e lea , the disaste has ata ked the people – also the daughte efuses to eat. It is uite lea the that e e o i utes i the il the e is a e e t that ostl fu io s as a false tu i g poi t, ut also se es to ouse the audie e a d to sha pe thei al ead a se t ate io to details, hi h e o e o e p o i e t fo the de elop e t of the sto tha the see i gl ai e e ts. If oth possi iliies fo a al si g a ai e a e used togethe – that of pa a et i a aio a d that of the fou a t st u tu e – it helps to gai a supple e ta i sight i to the possi iliies of plot st u tu i g. Both these s he es a e at o k he e, a d oth ha e thei o ea s i o de to suppo t the othe st u tu e. As e ha e see , the tu i g poi ts sha pe the ate io fo the i o a iaio s i the dail oui es, hi h fo the g ou di g p i iple of pa a et i a aio . It also ea s that the fou a t st u tu e is ot o l ese ed fo ai st ea Holl ood il s – it also ope ates i a pa a et i a ai e, ut ith a dife e t goal. Its ai is to esta t the ie e s i te est i the sto .
. . Li ited u e of st lisi hoi es The Turin Horse has a e igo ous fo , o sisi g of epeated a d u i ue situaio s, staged usi g a li ited a ge of st lisi opio s. O the le el of the st lisi s, the ai st lisi tool hose B la Ta a d his tea is a lo g shot ith a o i g a e a, ith t o sig ii a t t aits that a e epeated du i g the il a d the efo e - togethe ith the lo g shot - o situte the i t i si o of the pa a et i a ai e. Fi st of all, the e a e o e ts i e e episode he the a e a sta s sill fo at least half a i ute, o e t ai g o the s e e. The se o d featu e is a ithd a al of the a e a f o the s e e o ha sh t a ki g, so that the hors- ha p - p e iousl u see pa t of the spa e – e o es isi le. Ja ues Au o t dei es the of-s ee spa e as follo s: … the olle io of ele e ts ha a te s, sei gs, et . that, hile ot ei g i luded i the i age itself, a e o etheless o e ted to that isi le spa e i a i agi a fashio fo the spe tato . 412 The zoo i g out of the a e a, thus e la gi g the ield of isio , o u s th ee i es i the
412 Jacques Aumont, Alan Bergala, Michel Marie, Marc Vernet Aesthetics of Film, Austin, 2004, p.13. II. Case Studies - 3. Turin Horse 109 il . Most i p essi el is i shot , he the daughte e e e gei all takes the ate o l a d a ies it ho izo tall to the a e a a is hile the a e a zoo s out e ui kl . I o hest ai g su h a u usual shot, B la Ta eates a te sio et ee the o -s ee a d of- s ee spa e. But ega ded f o the poi t of ie of pa a et i a aio , this e t e e a e a ithd a al is a a e shot i this il , hi h see s to suggest that i e e slo a aio il the e a e episodes he ei the st lisi o posiio lea es the t adiio al t aje to ies ehi d fo so e ki d of a d o , as Da id Bo d ell ould put it. I Good e Drago I it as the shot se ue e et ee the li pi g ashie a d the u ia-ighte , i Fallen – as ill e e plai ed - it is the e te ded talk s e e et ee Maiss a d Ale ei. Thus, st lisi ele e ts as a pu e d o a e also possi le i il s of pa a et i a aio . The se o d e a ka le t ait of F ed Kele e s a e a o k i this il is the li ge i g of the a e a o a s e e fo se e al se o ds o lo ge . These o e ts ep ese t stasis i the othe ise e lue t a d a ou di g a e a o e e ts. Fo e a ple, the a e a li ge s o the s e e i all the episodes ith potato-eai g, ut this also happe s i othe situaio s su h as i the shots ith o e of the ha a te s sii g at the i do - o e of the e u i g oifs. We e ou te this situaio eight i es i the il , ut ea h i e the stagi g of the oif is dife e t. The i st i e the oif o es up e see the daughte f o ehi d, sii g i f o t of the i do du i g the i st da , hile the potatoes a e ooki g. The se o d i e is du i g the sa e da , ut ate suppe , a d this i e the fathe has take he pla e at the i do . The e t i e is o the e e i g of the se o d da , a d it s just a sho t o e t ithi a lo ge shot. Ate the a e a has depi ted the daughte eai g potatoes a d ate a ds lea i g up the ta le, the e is a ef a i g, so that the fathe , ho sits at the i do , is ought i to the f a e, see i p oile. The the a e a t a ks to the let, sill keepi g the igu e of the fathe i the shot, a d dis loses the daughte as she puts o e ood i to the sto e. The fathe see s to ha e falle asleep at the i do . The e t a iaio of the i do - oif o es ate thei light. The shot sta ts outside the house, ate se e al se o ds the fathe a d daughte e te the shot. Ate the ha e u loaded the a iage, the daughte goes i to the house a d sits do i f o t of the i do , hile the a e a sta s outside. “lo l the a e a zoo s i o he a d sta s fo se e al se o ds. I the shot e e ou te the oif o e agai . It sta ts ith a fuzz i age, ut, he the a e a t a ks a k it e o es lea that this as a ki d of a su je i e ie out of the i do as see ith fathe s e es. The a e a pauses ehi d the fathe ; e see his a k so that it e o es lea that he is sleepi g. The the a e a o i ues to pull out a d e dis o e the daughte se i g at the ta le. This pla -s ue e also i ludes a depi io of a potato-eai g s e e, a d loses ith a ediu lo g shot sho i g the fathe etu i g to the seat the i do . The se e th a iaio of this oif o es i the e t shot he the daughte t ies to eate so e light. I the shado shot the a e a egiste s the fathe sii g at the i do . Although the F ed Kele a s o i g a e a is e agile, the il ake uses o l a li ited a ge of hoi es a d o pletel fo goes the lea - ut edii g ithi o e episode. II. Case Studies - 3. Turin Horse 110 . . St le takes a o e ha d As al ead e io ed, The Turin Horse is il ed o l i se ue ed lo g shots, usi g a e o ile a e a a oss the hole il . This st lisi hoi e splits a a f o the plot a d it a ot e jusiied eithe so e o ept of ealis , o fo the ules of a ge e o o posiio al de a ds.413 This is the a fu the a gu e t that i the ase of this il , e a e deali g ith a pa a et i a aio a d ot just ith the a t i e a a aio .
3.9. The thinking image F ed Kele e , i e atog aphe o The Turin Horse, i talki g a out the il , e io s the oio of the thi ki g i age. The hu a ei g is a o i g ei g - ph si all a d spi ituall - ot a staio a o e , he sa s. The efo e the a e a o e e t o espo ds to the o i g thought a d is a o i g i age.414 This state e t is u ial i des i i g the i e atog aph st le i the il , e ause the o e e t of the a e a de o st ates the elaio et ee the st le a d plot o syuzhet as Bo d ell alls it . I lassi Holl ood il s the a e a a d the e i e isual st le usuall has to o to plot de elop e ts, so that all the st lisi hoi es e plai the sto i the lea est a possi le. I the ase of pa a et i a aio , Bo d ell a k o ledges that the st lisi s ste of the il eates a a ge e ts, he ei the st le e o es at least e ual i i po ta e to the plot.415 This thi ki g i age of B la Ta e e pliies situaio s he e the a e a o e e t is as i po ta t as the plot o e e o e so. The a e a i The Turin Horse t a ks to the ight a d to the let, zoo s i a d out – these all a e a io s that de o st ate a e o s ious a e a, a thi ki g i age , hi h k o s he e to look at a pa i ula o e t. But it also sho s that this thi ki g a e a does ot o to the plot s eeds, ut athe e plo es the il i spa e o its o .
. . Se ializaio What leads to the state e t that The Turin Horse ep ese ts a t ul st o g ase of pa a et i i e a is the fa t that this li ited a ge of st lisi opio s a e ei g used to depi t o l a li ited a ge of a i iies, so that he eas the pa a et i a ai e o u s o the le el of st le, a efe t of se ializaio takes pla e o the le el of the depi ted e e ts. It is o e p oof fo Bo d ell s thesis that pa a et i a aio is o l possi le i e si ple sto ies. 416 As a o se ue e, the il has a igid fo , a d hat B la Ta ega ds as the peak of his a isi a hie e e t. Ta o fesses that efo e il i g, he k e that he a ted to do so ethi g that ould e esse ial i e a . He sa s: Ea h il ge e ates a othe , gei g lose a d
413 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 280. 414 Robert Koehler The Thinking Image: Fred Kelemen on Béla Tarr and The Turin Horse in Cinema Scope, No. 46, March 2011, available at http://cinema-scope.com/cinema-scope-magazine/interview-the-thinking- image-fred-kelemen-on-bela-tarr-and-the-turin-horse/ (Accessed 12.06.2014). 415 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 275. 416 Ibid., p. 289. 417 Trevor Johnston Interview Béla Tarr in Time Out London, available at http://www.timeout.com/london/ feature/2712/bela-tarr-interview (Accessed 12.03.2013). II. Case Studies - 3. Turin Horse 111 lose to st le, lose to pu it a d si pli it . “o o the st le is ead . The o k is ead . It s pa ked. It s do e. A thi g else is just goi g to e epeiio . It is a po e ful jusii aio fo his de isio that The Turin Horse is goi g to e his last il .
. . The u e epio al a d the f e ue of a aio But o let s look at the a o e-de eloped i te p etaio of The Turin Horse as a ase of st o g pa a et i it taki g i to a ou t the issues of a ai e theo that ha e al ead ee dis ussed i ega ds to the othe ase e a ples. Fi st is the uesio of ha ge. As al ead i t odu ed, the app oa h of Wolf “ h id is e useful fo this e dea ou , as it as he ho de eloped a atalogue of ite ia hi h a ha ge of state has to fulil i o de to e la elled as e e t. The t o o diio s a e fa i it the ha ge a tuall takes pla e, it is eithe i agi ed o desi ed a d esultai it it ust ea h losu e .418 Fi e p ope ies that ha e to e p ese t to dife e t deg ees a e: ele a e, u p edi ta ilit , pe siste e, i e e si ilit a d o -ite ai it .419 E e o e, “ h id ega ds the ost de isi e featu e of ha ge as the e epio alit of the e e t taki g pla e – it ust disi guish f o the e e da .420 As e sa i The Turin Horse, all of the o s ee e e ts a e uite o o pla e e e da oui es, a d thei epeiio o l u de li es thei u da e ha a te a d those e e ts that a e dee ed so e hat e epio al i the o te t of the sto , like the a i al of the G psies, a e false tu i g poi ts . These u e epio al e e ts, su h as gei g u - d essed o sii g at the i do , also possess a lo le el of tella ilit , thus e a a i e at the o lusio that e epio alit a d a high deg ee of tella ilit a e o diio s fo a high deg ee of a ai it . As e e ou te eithe i The Turin Horse, e a ot speak of high deg ee of a ai it . A d ás Báli t Ko á s – the Hu ga ia il s hola ho has ite the ost o p ehe si e ook o B la Ta to date – atests to his il s the a alit , o the u e epio al, e e da ha a te , of the e e ts. 421 As de o st ated a o e, the e e ts sho o s ee – the di i g, the u d essi g, the sii g at the i do – a e those to hi h this stud ould atest a lo le el of telli ilit . As the ela o ate a al sis of the epeii e ele e ts i The Turin Horse de o st ates, e i d epeiio i this il o the sto le el as ell as o the le el of dis ou se. F o the sta dpoi t of this esea h, the ost app op iate o ept of a ai e theo that helps to g asp this phe o e o is that of f e ue as de eloped G a d Ge ete. He uses the te a ai e f e ue i o de to des i e the elaio of epeiio et ee the a ai e a d the diegesis.422 He dei es follo i g t pes:
418 Wolf Schmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald Müller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 24. 419 Ibid., p. 26-29. 420 Ibid., p. 24. 421 András Bálint Kovács The Cinema of Béla Tarr: the Circle closes, London, 2013, p. 100. 422 Gérard Genette Narrative Discourse, Oxford, 1980, p. 113. II. Case Studies - 3. Turin Horse 112 . Na ai g o e hat happe ed o e si gulai e a ai e ; . Na ai g i es hat happe ed i es; . Na ai g i es hat happe ed o e epeai g a ai e ; . Na ai g o e i e hat happe ed i es ite ai e a ai e .423 Of i te est is t pe , hi h Ge ete dis isses o the g ou ds that, i his opi io , it is asi all sill a si gulai e a ai e e ause it de o st ates the sa e elaio of f e ue et ee a ai e a d sto as t pe – the epeiio s of the a ai e si pl o espo d .. to the epeiio s of the sto . 424 Thus, he o i uous, the si gulai e is dei ed .. ot the u e of o u e es o oth sides ut the e ualit of this u e . 425 Ho e e , this stud ag ees ith Ma kus Kuh that this t pe of f e ue a ui es sig ii a e i ases he e the autho pla s ith si ila it a d dife e e thus eai g a iaio s i a se ies of su essi e ep ese taio of e e ts. The u ial dife e e et ee this t pe a d the ite ai e a ai e, as Kuh poi ts out, is the fa t that i the ase of ite ai it the si ila it et ee dife e t e e ts is st essed, he eas i ase of t pe the dife e es et ee the a e fo eg ou ded.426 As e plai ed a o e, the epeated a io s i The Turin Horse a e put i to a s e e usi g a dife e t stagi g ea h i e hi h, ho e e , a a tuall go u oi ed the ie e . Thus i ase ofThe Turin Horse e e ou te the se o d t pe of f e ue . But this is a o je i e state e t a d o e that helps to g asp the a ai e st u tu e of the il . If see f o the fu io alist pe spe i e, hat does it ea fo the o p ehe sio of the il ?
. . Repeated ie i gs a d the Rele a e theo Ko á s e p esses the opi io that the d a atu gi al ke that akes slo a aio a epta le is suspe se. It a ises he the a aio suggests that so ethi g i po ta t is goi g to happe , o ate ho slo l the e e ts take pla e o ho i sig ii a t these e e ts a e.428 Ko á s o i ues that isual ele e ts a also a ui e suspe se, fo e a ple, th ough thei aesthei ualiies.429 As de o st ated a o e, the a aio i The Turin Horse elies full o false tu i g poi ts a d also o false da gli g auses, hi h, at least du i g the i st ie i g of the il , a eate suspe se i the ie e .430 Although the do ot de elop the sto fu the , the sill possess a fu io fo the audie e – a a ake i g f o the i e sio i the i age.431 It is i po ta t to st ess o e agai , that o l du i g the i st ie i g, he the audie e
423 Gérard Genette Narrative Discourse, Oxford, 1980, p. 114-116. 424 Ibid., p. 115. 425 Ibid., p. 115. 426 Markus Kuhn Filmnarratologie. Ein erzähltheoretisches Analysemodell, Berlin, 2011, p. 229. 427 András Bálint Kovács The Cinema of Béla Tarr: the Circle closes, London, 2013, p. 115. 428 Ibid., p. 115. 429 Ibid., p. 116-117. 430 The issue of suspense in slow cinema will be further pursued in the chapter 5.7. 431 The issue of immersion will be approached in more detail in the chapter 5.7. II. Case Studies - 3. Turin Horse 113 is ot fa ilia ith this a ai e st ateg of Ta , this a e of i te est fo the ie e . O e a st o gl suspe t that ost of the audie e, ate ha i g u de stood this featu e of Ta ´s a ai e st le – that the supposed tu i g poi ts lead to othi g - ill o e t ate thei ate io full o the isual le el of the il . Du i g the i st ie i g e o e t ate o the epeiio as su h a d the u if i g featu es et ee the epeiio s. O l du i g su se ue t ie i gs, he e k o that the ost i te esi g aspe ts of the il a e the a iaio s i the stagi g of the epeated e e ts, does this t pe of f e ue as des i ed Ge ete a ui e ea i g fo the ie e . I the ase of The Turin Horse e ha e to highlight the dife e es et ee the i st a d the su se ue t epeated ie i gs of the sa e il – fo ea h the ie e a ha e a othe fo al i te est. Thus, e etu to the posiio of “pe e & Wilso ith hi h this stud set out to sea h fo pa a et i it i slo i e a at the egi i g of this hapte . That Just as the failu e to p o ide ele a t i fo aio at o e le el a e used as a oste si e si ulus at a othe , so the p odu io of a ute a e hi h is appa e tl u i te p eta le at o e le el a e used as a oste si e si ulus at a othe o e. 432 We ha e the efo e go e a full i le – the ide ii aio of pa a et i it i The Turin Horse de o st ates that a il hi h, due to its s a t sto , a e as i ed to ei g l´a t pou l´a t , a d sill possess ele a e fo the ie e . O l du i g epeated ie i gs a e full app e iate this il , e ause o l the e pa the app op iate ate io to its st lisi s a d do hat Bo d ell ega ds as the ost de isi e task of the ie e i at hi g a il that elo gs to the pa a et i ode of a aio - a el , the sea h fo a iaio s. The opi io that Bo d ell e p essed ega di g Pickpocket di . ‘o e t B esso , also has its p oof i The Turin Horse: it p efe s o de o e ea i g.433 A d this is p e isel hat uilds up the fu io of pa a et i a aio fo the audie e – that st le a ises i pu suit of ele a e.
432 Deidre Wilson, Dan Sperber Relevance theory in Laurence R. Horn & Gregory Ward (eds.) Handbook of Pragmatics, Oxford, 2004, pp. 607 – 632, available at htp:// .da .spe e .f /?p= (Accessed 14.07.2013). 433 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 306. II. Case Studies - 4. Fallen 114 4. Fallen (dir. Fred Kelemen, Germany, Latvia, 2005) 434
The hapte a out the il Fallen is i te ded as a o ple e ted a al sis to the il The Turin Horse, e ause oth il s e e plif t o dife e t app oa hes to pa a et i i e a. B la Ta ´s il , ith its igid fo , de o st ates pa a et i it of the st o g o de . I F ed Kele e s il , the i p essi e stagi g st ateg e ists o u e tl ith a plot hose st u tu es a e de i ed f o lassi dete i e il s. As e p essed a o e, this dife e iaio a e ade taki g i to a ou t the deg ee of a ai it i oth il s.
Follo i g is a i -depth des ipio of Fallen, ith pa i ula ate io o the stagi g st ategies that o t i ute to the pa a et i ode of this il . The des ipio ill e follo ed a e pla aio of the a t st u tu e a d a e sui g assess e t of the il s tella ilit taki g i to a ou t the o ept of ha ge. The su a ill etu to the uesio of pa a et i it i Fallen a d ate pt to o e t the st le of the il to its fu io .
. . Des ripio of the il ’s stru ture Setup (Minutes 1 - 18) The il , shot i la k a d hite, sta ts ith a pa o a i ie of a i e ith a idge i the a kg ou d. We hea f ogs a d othe sou ds of atu e. The i t odu to itles appea . As the o e to a e d ate so e i . , a ut to the e t shot of a stai ase at ight. A a appea s a d sta ts to as e d. The a e a follo s hi f o ehi d. Fi all , he s o the idge. He o i uous to alk u il he sees a o a sta di g ehi d a pa apet. He hesitates, the o a tu s he fa e to a ds hi , ut he o i uous to alk. Ate se o ds he hea s so ethi g falli g i to the i e - a o a s oi e ies fo help. He tu s a d u s a k to the pla e he e the o a as sta di g, ith the a e a ehi d hi . He looks o e the pa apet; o o e is the e. The shot lasts fo th ee i utes. The e t shot is a lose-up of the a , see f o ehi d, hile he looks o e the pa apet. The he goes to the othe side of the idge, a d i doi g so o es a a f o the a e a. The he tu s a k a d lights a iga ete. Ate a o e t, he o i uous to o e i the sa e di e io as efo e. The he des e ds the stai s, he eas the a e a sta s o the idge a d es o ts hi u il he disappea s i to the da k ess. Cut to the e t shot of a illu i ated telepho e o i the fa ight. The lead ha a te o es f o the let a d goes to the telepho e o . The a e a sta s put. He akes a pho e all, ut e do t k o ho he s alli g. This takes so e i e. Ate the pho e all he o es a k a d passes o the let of the a e a. The a e a li ge s o the s e e. Cut. The a sta ds o the idge ith his a k to the a e a a d s okes. Ca e a pa s to the
434 ���������������� ��������� ������� ���� ������� ����� ���4� �� �� ������� ���� ����� ���� ���� ������ ������ ��� ���� ���� ����� ���y ������ ��� 2��� ������y. �� ��� ���� ������ ���� ����� ��� ���0�, ��� ��� ��y��, ���� ���� ����� ��� ������ �������v� �� �������������� �� ��� ��� ����. T�� ��� Fallen ��� ���� ������ ��� ���y �� L��v��. I�����������y, ������� ��� ���� � ��������������� �� ��� ���� ��� ���� �f Bé�� T���: The Man from London �A Londoni Féri, Hungary, ������, S����, ������y, 2007� ��� The Turin Horse �A Torinói Ló, ������y, USA, ������, S����, ������y, 200��. II. Case Studies - 4. Fallen 115 let, the a o es to the stai s, he s okes a d aits fo so ethi g. The he sits do , a d ate se e al se o ds e see a s a i i g o the st eet e eath the idge. I the da k a d f o a dista e, o l the i e t u k is e og iza le. The a s okes a d looks at the ehi les. “e e al e step out a d o e up the stai s. O e of the e asks the lead ha a te hethe he alled the . He ods. The shot e ds ith oth of the des e di g the stai s a d gei g i the a . The a e a o i ues to u fo se e al se o ds. The e t shot is set i the a , he e the poli e i spe to as e o e to u de sta d deli e s a o ologue to the lead ha a te a out his dii ult o k, a d a out dife e t a s of o ii g sui ide. Ou leadi g a does ot espo d; he see s disi te ested. Ate the o ologue, hi h lasts fo th ee a d a half i utes, the i spe to asks the a to spe if hat he sa . He espo ds that he did t a tuall see a thi g; he just hea d a oise a d a fo help. The the i spe to asks fo the a s a e a d he e e dis o e that ou lead ha a te is a ed Maiss )el s, o o . . . As the i spe to sees the di e s o i g, he i ites Maiss to step out of the a . Cut. The du aio of this episode is i e a d a half i utes, a d its il ed as a stai ediu shot. The e is a o i uit e o i this episode – although the s e e takes pla e at ight, it is ight da light outside the a . I the e t shot oth Maiss a d the i spe to get out of the a a d eet the di e s ho sa that the did ot i d a thi g. The poli e a s a d the i e t u k lea es, Maiss alks a a f o the a e a, follo i g the oad. Fo al ost a i ute the a e a il s hi lea i g.
Co pli ai g a io i utes 1 – 1 The a e a fo uses o a ight light, the ilts do , a d e see Maiss i edl sta di g i f o t of a shelf of a hi es. A o a s oi e u ges hi to o e out as she is goi g to lo k up. He puts so e do u e ts i to a o , pla es it o the shelf a d alks th ough the da ke ed oo . The a e a follo s hi . I the e t s e e he speaks ith a olleague a d asks he e the iles fo the e t e fo ski a d se uall t a s ited diseases a e. O e ight thi k that this is i po ta t i fo aio , ut this is the i st a d the last i e the e t e is e io ed i the il . As the shot o i ues, Maiss alks to the shel es a d puts so e do u e ts i a o . The he etu s to the olleague a d sig s. Ate that the a e a follo s Maiss as he lea es that oo a d goes i to the o ido . The the a e a sta s put, he eas Maiss o es a a f o it a d lea es o the fa let. The a e a li ge s o the e pt o ido fo fe se o ds. I the e t s e e Maiss e te s his oi e - a pho e is i gi g. He dis o e ts it, the a e a zoo s out slo l a d e see a lo k sho i g i e o lo k. Maiss takes his oat, s it hes of the light a d lea es. As efo e, the a e a li ge s o the e pt shot fo se e al se o ds. Cut to the e t shot he e Maiss o es up o to the sa e idge as i the ope i g se ue e. He slo l app oa hes the pla e he e the o a as sta di g. The he goes to the iddle of the idge, lights a iga ete, o es to the othe side of the idge a d looks do at the hild e s i i g the sho e. F o a dista e e hea its of thei dialogues. Fo o e tha a II. Case Studies - 4. Fallen ��� i ute Maiss a d the a e a o e his shoulde at hes the hild e s i i g. Cut to the e t s e e - a lo el st eet at ight. Ate se e al se o ds Maiss steps out of the da k a d app oa hes the a e a. The the a e a o es ith hi to the e t a e of a a ; loud usi sou ds f o a dista e. Ate so e hesitaio , Maiss e te s. I the e t shot the a e a follo s Maiss as he o es i a d goes to the ou te . He o de s odka a d asks the aite hethe the e as a lo d o a i a light oat he e este da . He lai s that she is his gi lf ie d, a d that she did ot o e ho e the da efo e a d that he does t k o he e she is. The aite o i s that she as he e, d a k a lot, a d ote so e lete s. He also gi es Maiss a ha d ag that she had let ehi d. The aite lists the thi gs i the ag, a d he e e lea that the e is e eipt f o a photo la that ill se e as a da gli g ause fo fu the sto de elop e t. Maiss asks hat happe ed to the lete s, the aite a s e s that she th e the a a , ut the a e sill i the ga age i , so Maiss ishes the out. As he does so, the a e a ef a es, lea i g the aite out of the f a e a d fo uses o Maiss a d the lete s. Maiss goes to a o e ta le, sits do a d s oothes out the i kled lete s. He takes out his eadi g glasses. The a e a ef a es o e o e; Maiss eads the lete s ehi d a de o ai e pa iio . Of-s ee e hea the aite sa that the a e losi g. Maiss gathe s his thi gs a d lea es. The hole episode is a si gle shot, a d o e of the ha a te isi s of Kele e s st le is that he ote o ks ith pla -s ue es. Cut to Maiss lat. He o es i , s it hes o the light. He takes the lete s a d the ha d ag a d sits do . He looks th ough the o te ts of the pu se a e a ef a es to a lose-up . The e is pe fu e, a ho olate a , so e o do s, lipsi k, a pe a d a e pt e elope. The last thi g he takes out is the e eipt f o the photo la . Maiss eads the lete s out loud. As it g aduall e o es lea , this is a lo e lete to the o a s lo e Ale ei. A ief su a of the o te t is as follo s: fo thei lo e she let he p e ious life, ut o eg ets he de isio . The e is o e use fo he deeds. “he feels guilt all the i e a d does ot a t to li e like this a o e. “he ids he fa e ells. Maiss looks at the e eipt a d eads the a e - Ali a. Maiss sta ds up, goes to a da e po t, sits do a d looks at the e eipt fo a lo g i e. The he puts it i to his po ket a d e ai s lost i thought, the falls asleep. All this is il ed i a si gle take that lasts fo eight i utes.
Develop e t i utes 1 – Cut to the e t shot he e e see Maiss sii g i a a hai . The he gets up a d goes to a all o e ed ith photos Maiss is at the photo la . At the ou te he e ei es a pa ket a d lea es. These a i iies a e il ed i o e take. The e t shot depi ts Maiss o kpla e - the a hi es. Du i g a pho e all he e a i es the slides. “ta i g ith a e lo g shot, the a e a slo l zoo s i . As e o es lea f o a othe all, Maiss has to go to a eei g. Cut to the e t shot. He e e see a p oje ted photo of Ali a ith he fa il – a so a d hus a d. This is follo ed othe slides of the looki g happ at a pa t . The o es a photo depi i g Ali a, he II. Case Studies - 4. Fallen ��7 hus a d, a d a st a ge ho Ali a is looki g at. I the e t photo the li k glasses hile he hus a d looks at he . The e t slide is a si gle shot of the st a ge , ho looks i to the a e a. It is follo ed a photo of Ali a. The a slide of Ali a a d the st a ge . It see s the a e a ouple. The the photos a e ei g epeated f o the egi i g. The a e a zoo s out - Maiss s okes a d at hes the slides. He s it hes of the p oje to , goes to the ta le a d puts Ali a s thi gs a k i to the pu se. As he takes the e elope, he hesitates a it. He s it hes of the la p a d lea es the lat. All this has ee il ed i a si gle shot lasi g si i utes. O the st eet, Maiss app oa hes f o afa . He o es a ou d a o e i to a a d. Cut to the o ido . Maiss o es i , looks a ou d a d as e ds the stai s. I the e t shot e see Maiss as he goes to a doo a d i gs the ell, the k o ks t i e o the doo . A a s oi e a s e s a d ope s the doo . Maiss ha ds hi Ali a s pu se, ut Ale ei sa s that he does ot e og ize it. Maiss i sists that the e as a e elope ith Ale ei s a e a d add ess o it. “o Ale ei asks hi he e he got the ha d ag. Maiss lies that he fou d it o the st eet. Maiss a ts to k o to ho the pu se elo gs to a d if she li es at this add ess, ut Ale ei isu de sta ds hi . He thi ks that Maiss a ts so e o e . Ale ei o i s that the o a li es he e, a d that he ill gi e he the pu se he she etu s i a da o t o. Ale ei puts o e i Maiss ha d a d pushes hi a a f o the doo . The a e a zoo s i o Maiss, the a o pa ies hi des e di g the stai ase. The shot lasts fo t o i utes. It is e u usual to il dialogue ithout edii g - Kele e s sig atu e is the use of a pla -s ue e, a d ot the t adiio al eaki g up of the se ue e i dife e t shots. Cut to the a d of Ale ei s house. Maiss slo l e its; he hides ehi d a o e . Ale ei e its; Maiss follo s hi . I the e t shot e a e i the a . Maiss o es i a d the a e a follo s hi f o ehi d. He goes to the ta le he e Ale ei is sii g. Ale ei puts o e o the ta le, ut Maiss efuses to take it. Ale ei asks hat he a ts. Maiss sits do a d tells hi that he o ks at a a hi e f o i e to i e. But o o e da he fou d the ha d ag, hat he fou d u usual a d that he is af aid of hat has happe ed to the ha d ag s o e . He st esses that he did t take the o e – the e as o o e i the ag. O l a e elope. Maiss asks if she is Ale ei s ife. Ale ei see s a o ed the uesio a d a s e s that the just li e togethe . But she e t a a t o da s ago a d did t etu . Ale ei suggests that Maiss sta out of this. Maiss apologizes a d lea es. This lo g take lasts fo th ee i utes a d deli e s i fo aio hi h suppo ts ou a iet that so ethi g has happe ed to Ali a.
Cli a i utes - 1 I the e t shot e see the slides as p i ted photos o a all. The a e a pa s o e the . Maiss looks at the a d sa s aloud Jealous . The he sits do o to the ou h a d pho es the a hi e. He i fo s the that he ill sta at ho e toda , e ause he does t feel ell. The he takes a gulp f o a odka otle a d looks at the photos o the all. The a e a zoo s i o hi as if suggesi g that it ould ead Maiss thoughts. O that e as ie e s should i age hat he s thi ki g. This is a appa e t gap i the a ai e that the ie e has II. Case Studies - 4. Fallen 118 to ill i , a d he e e e ie e ould a i e at dife e t esults. Cut to the st eet i the e e i g. We see the e t a e doo of a a . Ate se e al se o ds Maiss a i es, the sta ds outside a d s okes. Ate a pause he goes to the i do , looks i side a d goes i to the a . A ediu lose-up of Ale ei, sii g at a ta le a d d i ki g. He tells Maiss that e e thi g is his fault. He a d Ali a got to k o ea h othe he the e e hild e . Fo hi , it as o l a ga e. The a e a sta ts to uise a ou d Maiss a d Ale ei sii g at the ta le a d ill do so u il the e d of the shot. Ale ei sa s that he had to go a a , ut the ote lete s to ea h othe . Ali a ote that she ould lo e hi u il the e d of i e, ut he e e a s e ed he . He got the i p essio that it as hildish. Ate ea s, he he a e a k, she as a a ied o a , ith a hild. A d the he ealized that he eeded he . The sta ted to eet a d it tu ed out that she sill lo ed hi . As she did t lo e he hus a d, she let hi , ut he took a a he hild. Whe the sta ted to li e togethe , she ha ged. “he losed he self up. The last da s ith he e e te i le – the a gued a d shouted at ea h othe . “he said that he had ui ed he life. At this poi t Maiss ag ees – es, Ale ei ui ed he life. Maiss states that Ale ei, although he sa s that he lo ed he , i ealit did ot. He just pla ed he . He just a ted to possess he , ut that s ot lo e. Maiss a t u de sta d ho Ale ei ould fo e hi self i to he life. He ould e e do that. If he had et he , he ould ha e lo ed he . He ould e e he hu t. With hi she ould ha e ee happ . Ale ei a ts hi to shut up, ut Maiss st esses that Ale ei is espo si le fo he . Maiss a uses Ale ei of ha i g th o Ali a a a , he e e a uses hi of d o i g he to ise . Ale ei has poiso ed a othe pe so s life. The Maiss asks the uesio - hat if she has do e so ethi g to he self? It ould e Ale ei´s fault. Ale ei ag ees ith Maiss that that ould e te i le. Ate d i ki g a glass of odka Ale ei ag ees that e e thi g is his fault. A d the he sa s he does ot a t to li e a o e. The , as a su p ise, Ale ei takes out a gu . Maiss asks hi to stop – the ill i d a soluio fo the situaio togethe . But Ale ei sees o a out. Maiss p oposes to d i k a it o e a d talk a out the situaio . Ale ei ould i d fo gi e ess, if he eg ets deepl f o his hea t. “e o dl , life sill goes o . The e a e othe o e . He e Ale ei sta ds up a d goes to the toilet. We see hi e te i g the toilet, hi h is lo ated ehi d the ta le. Maiss sta s at the ta le a d d i ks. The e hea a shot f o the toilet. Maiss looks at the toilet doo a d e ai s seated. He slo l ealizes hat has happe ed a d see s to s ile as if he a t elie e it. He d i ks o e o e glass of odka. This u ial s e e lasts fo se e i utes, ith the hole episode ei g il ed i o e take.
Epilogue i utes 1 - A eado . Maiss a ls, falls, sta ds up agai a d a ls to the fo eg ou d of the shot. Cut o e deg ees. No e see Maiss a li g up to ail a t a ks. We hea a t ai passi g. I the e e t shot e see Maiss o i g. He passes ui s of houses. Cut to a Maiss´ lose- up, goi g do a st eet. We hea hu h ells. He app oa hes a hu h. Cut to a olo ade. II. Case Studies - 4. Fallen ��� Maiss o es to a ds the a e a. He stops at o e of the olu s a d o its. The he o es fo a d a d lea s o to a othe olu , the sits do . “udde l , the doo o the let side ope s a d Ali a o es out a d e its o the let. Maiss see s to e su p ised, he gets up, at i st he looks ate he , a d the follo s he . Cut to a af o a i e a k. Ali a o es alo g a d e te s it. We see he sii g do i side. Ate a ds Maiss appea s, follo i g he . The he also e te s the af . Cut to the i side of the af . Maiss sits at the a , Ali a ehi d hi at a ta le. No a d the he looks a k at Ali a a d thei gazes eet. Maiss goes a d sits do e t to he , ut she a ts to sta d up. Befo e she lea es, Maiss asks he fo fo gi e ess. “he just looks at hi a d sa s othi g. The she sta ds up a d lea es the af , ehi d a glass doo e see he hus a d a d so aii g fo he . “he hugs the so , takes hi the ha d a d all th ee go do the oad. Maiss sta ds up a d follo s the . O the st eet, he stops. The a e a ef a es hi i a ediu shot. Maiss ha ges di e io a d goes to the i e . He des e ds to the ate le el. Bet ee the sea-gulls e hea a ship s ho . Maiss sits do , the la s do o the o ks. Fo the i st i e i the il , o diagei usi sta ts. This last shot lasts fo al ost i e i utes.
. . A t s he a i Fallen I te s of plot, Fallen see s to e a e lassi e a ple, thus the a al sis of the il egi s ith a e pla aio of its a t st u tu e. Fallen o sists of i e pa ts of oughl the sa e le gth, et ee a d i utes, ith the o pli ai g a io ei g the lo gest. F o the il e a ples he ei , Fallen is the o e ith the st o gest plot. “o i the setup e e ou te the p o le – Maiss does ot help Ali a ho o se ue tl ju ps f o a idge. ‘ight a a Maiss is o e o e guilt, so he alls the poli e. The setup e ds ith a o sta le – the di e s de la e that the did ot i d a thi g, ut Maiss k o s that so eo e ju ped i to the i e . Although this see s to e a lassi setup i hi h e get to k o the lead ha a te Maiss, a d e see hi h e e t sta ts the hai of a io the ju p i to the i e , e do ot dis o e Maiss goals. We si pl follo hi . We a o l guess that that o a s ju p a d his aitude to a ds it ha ges his life so eho . To ou su p ise, Maiss does ot ea t to the fa t that a o a is sta di g o the idge a d see s to e gathe i g he ou age to ju p. As e o l it ess Maiss see i gl u tou hed the e e ts, it ill o e as a su p ise late o , he he sta ts to gathe o e a d o e i fo aio a out the o a . It has to e st essed o e o e, that i o pa iso to othe e a ples of slo i e a, the a i it i Fallen that t igge s su se ue t e e ts is lea - ut a d o es at the e egi i g of the il . I the o pli ai g a io Maiss egi s to sea h fo i fo aio a out the ou g o a , a d the ea a se es as his poi t of depa tu e. He e he gets he ha d ag, hi h se es as a da gli g ause a d deli e s fu the i petus fo the sto . Tha ks to the ha d ag he ot o l gets Ali a s lo e lete s, ut also the slides depi i g he fa il a d he lo e Ale ei. It is uite a lassi o pli ai g a io , e ause he e the e e t hi h sets the ause a d efe t hai i II. Case Studies - 4. Fallen �20 oio – the ju p of the idge – a ui es its jusii aio a d Ali a s ha a te is leshed out ith the help of the lo e lete s. Th ough fu the de elop e ts e e ei e e e o e i fo aio a out Ali a. We see the slides ith he fa il a d he lo e , a d e e ou te Ale ei as uite a ude ha a te . But ega di g Maiss goal to get to k o Ali a, this pa t is a lassi de elopi g a io , as these episodes ith Ale ei se e as o sta les fo Maiss i ea hi g his goals. The li a pa t i Fallen is also a e lassi . A o di g to K isi Tho pso , du i g the li a all sto li es eet i a i al esoluio a d this is hat e e ou te i Fallen. Na el , the sto li e a out Ali a s elaio ship ith Ale ei i ds losu e a d so Maiss uest o es to a e d. The episode i the a is e ell o st u ted, uildi g up the feeli g of guilt i Ale ei, ul i ai g i his sui ide. With ea h se te e Maiss i eases Ale ei s despai . Clea l , ate the gu shot a a t eak a e set. Ho e e , the epilogue tu s the hole sto up-side do a d all the ste ies hi h see ed to ha e ee esol ed i the li a su fa e agai . He e the a ai e de elops so e ki d of a ise-e -a e st u tu e that is o pletel o t a to goal-o ie tated st u tu e of all the p e ious pa ts of the il . The epilogue o pletel ha ges the ie e s e pe taio s to a ds the sto . U il the eappea a e of Ali a, the il suggests to the audie e that the e ill e a i al a s e to the uesio hat happe ed to the o a , ho she as a d h she o ited sui ide. But the i al pa t of the il tu s the gai ed i sights i to othi g a d e ou ages aski g the uesio s o e o e. But ote, that if a ie e at hes Fallen se e al i es, the il sill does ot ofe othe paths to sol e the ste as it is, fo e a ple, i The Sixth Sense, he e the ie e al ead k o s the out o e of the sto , a d at uliple ie i gs assess the s e es dife e tl . Fallen has o su h hidde dou le ea i gs. I stead, e a e let ith a lot of uesio s u a s e ed. Fo e a ple, did the ju p of the idge o l happe i Maiss´ i agi aio ? Be ause, as e k o , he did ot see a thi g – he just hea d the s ea . Does he eall e ou te Ale eI o as it just a d ea ? The il lea es these uesio s u a s e ed, so that e a e plai the t ist of the a ai e ith the ge e o e io s of a dete i e il .
4.3. Fallen as a ge re il The dete i e il is a su ge e of a i e il , hose t o ost disi t featu es a e a ste ious e e t as a poi t of depa tu e fo the sto , a d a poi t of ie pe spe i e o the e e ts. The supposed sui ide of Ali a ep ese ts su h a e e t, he e the u e tai t is i te siied th ough the fa t that eithe Maiss o the ie e a tuall sees hat happe ed o the idge. “u el , Maiss, ho has the poi t of ie pe spe i e i the il , is ot a p ope p i ate e e – he just happe s to e at the o g pla e at the o g i e i this ase e ould use the
435 N������ ���� Detektivilm �� T����� ������� ���.� Reclams Sachlexikon des Films �3�� ��������, S��������, 20��, �. �33. II. Case Studies - 4. Fallen �2� oio of a i o e t sta de as p oposed Da id Bo d ell . But hat li ks hi ith ep ese tai es of this o upaio is the u ge to sol e the p o le , a d ot the gai – a e i the fo of a e a d - he ould e ei e. The ela holi to e of the il a d the pa h o ai i ages a lead to a o lusio that Fallen is a ep ese tai e of the (neo-) noir t adiio , a d a ate pt a e ade to ead it as su h. Fo e a ple, the u a sei g il ed ostl at ight, hi h is o e of the ha a te isi s of il oir, applies also to Fallen. Ho e e , plot o ple it hi h, a o di g to “ h a tz, is also o e of the ualiies of noir, is of lesse deg ee at least i o pa iso to the le el of plot o ple it e ha e e o e used to o e the last de ades - Memento di . Ch istophe Nola , , U“A is su el a p i e e a ple . U il the last shot of the il , the plot is a tuall e si ple – Maiss e ou te s a p o le a d the uses his dedu i e skills to sol e it as e plai ed i the su hapte a out the a t s he a i the il . I the histo of the dete i e il the e a e ple t of e a ples he e the p otago ist does ot su eed i sol i g all the puzzles he is fa ed ith. E e o e, ote at the e d of the il e a e let ith u ease o a se se of i itaio , o e e dou t that e te ds e o d the sto itself. The episode i a af at the e d of Fallen, he Maiss sudde l sees Ali a ali e a d happ ith he fa il , o iousl auses i itaio ot o l i hi , ut also i the ie e . Be ause the i p essio e had a out Ali a s life a d he oi aio s, ased o all the p e ious i fo aio that Maiss gathe ed, tu s out to e o pletel o g. But e e that e a ot sa fo su e. It ould e e te pi g to lassif Fallen as a ep ese tai e of the neo-noir. Ho e e , fo the pu poses of this p oje t, athe tha li ki g Fallen to the noir t adiio i te s of aesthei s, the highlight is athe o aisi g the lai that the ese la e to a ge e il o es i to ei g, e ause a high deg ee of tella ilit is ha a te isi fo oth – Fallen a d the ge e.
. . Tella ility, eve ts a d ha ge If e take a look at Fallen f o the poi t of ie of plot o ga izaio , the , as as al ead des i ed ega di g the a t st u tu e, e e ou te the usual da gli g auses a d tu i g poi ts a ou d hi h the a io de elops. I o de to o k out the dife e e et ee Fallen a d othe slo i e a e a ples ith e e o e idios ai plot o ga izaio , the oio of ha ge should e s ui ized. As oted, fo this e dea ou the app oa h of Wolf “ h id, ho de eloped a atalogue of ite ia hi h a ha ge of state has to fulil i o de to e la elled as e e t, is ega ded as useful. The t o o diio s a e fa i it the ha ge a tuall takes pla e, it is eithe i agi ed o desi ed a d esultai it it ust ea h losu e . The
43� D�v�� B�������, ������� T������� Film Art. Introduction ��0�� ��������, N�� Y���, 20�2, �. 334. 437 ����� S��ß��� Detektive. Mord im Kino, M������, ���8, �.7. 438 R����� S������z Neo-Noir: The New Film Noir Style from Psycho to Collateral, L�����, T������, O�f���, 2005, �. X. 43� N������ ���� Detektivilm �� T����� ������� ���.� Reclams Sachlexikon des Films �3�� ��������, S��������, 20��, �. �35. 440 W��f S����� Narrativity and Eventfulness �� T�� �����, ����������� Mü���� ����.� What Is Narratology? Questions and Answers Regarding the Status of a Theory, B�����, 2003, �. 24. II. Case Studies - 4. Fallen �22 i e p ope ies that ha e to e p ese t to dife e t deg ees a e: ele a e, u p edi ta ilit , pe siste e, i e e si ilit a d o -ite ai it . Co t a to the p e ious e a ple The Turin Horse, all of these o diio s a d p ope ies a e applied to the plot of Fallen - Maiss ish to dis o e the ide it of the o a o the idge eates the fo a d i petus, a d ith ea h e plot de elop e t the sig ii a e of the e e ts fo the a ated o d, its u p edi ta ilit , the o se ue es o e i g the a ated o d, the i e e si ilit of e e ts a d thei si gula it o l i eases. Thus, the ha ges of state e ou te ed i Kele e s il a e la elled as p ope a ai e e e ts possessi g a st o g deg ee of a ai it . Thus Fallen is a ell- ade sto . Ho e e , the e epio alit of Fallen o es to the fo e he o pa ed to the plots of othe slo i e a il s. If “ h id s lassii aio of ha ge of state a see too o ple , the e is o e e si ple u de sta di g of ha ge, hi h has to e kept i i d du i g the a al sis of othe slo i e a e a ples. Na el , a o di g to “ h id, a e e t is a spe ial o u e e, so ethi g hi h is ot pa t of e e da oui e . The efo e, it is p e isel the e epio alit of e e ts depi ted o s ee that is the de isi e fa to st o gl o e ted to the deg ee of a ai it i slo i e a il s. O iousl , e e ts hi h possess a high deg ee of tella ilit , as those i Fallen, ill al a s also e e epio al a d i e e sa. Co se ue tl , the o t i ute to the e ha e e t of the deg ee of a ai it i a il . Ho e e , as it as de o st ated du i g the a al sis of the il Liverpool, a plot hi h o sists of e e ts ith a high deg ee of tella ilit , a ot al a s ha e a high deg ee of a ai it if the ausal li ks et ee the e e ts a e eak o issi g o pletel . Yet, i Fallen, o e a ai e e e t ields a othe , thus uildi g a p ope ause-a d- efe t hai . But the , i o pa iso , ho a e assess the il The Turin Horse ithi this f a e o k? E e thi g e see o s ee , e ept fo the a i al of the G psies a d the isit of the eigh ou , elo gs to e e da oui e, hi h, a o di g to a ai e theo is the iggest e e to sto . I te s of a ai e theo , sii g at the i do , doi g lau d , ooki g a d eai g as su h do ot possess a sig s of tella ilit if su h a i iies e e to e depi ted i ai st ea i e a, the ould se e as a i t odu io to o the a kg ou d of a E e t . E e o e, these tasks la k a e epio alit . Addiio all , the plot e e ts follo o e a othe uildi g a li ea st u tu e esuli g f o the dail oui e of the fa stead ostl ithout ausal li ks. Co se ue tl , the sto i The Turin Horse has a e lo le el of a ai it . I this ega d Ta ´s il dife s de isi el f o Fallen , hi h, as a gued, is a lassi ase of a ge e il . The uesio a ises - hat akes il ii s assig Fallen to slo i e a, a d e e o e, to pa a et i ode? As oted i the des ipio , al ost all of the episodes a e shot usi g a si gle take, a d the se ue e shots a e o side a l le gth . The peak is ea hed i the episode i the a , he Maiss ep oa hes p o pt Ale ei to o it
44� W��f S����� Narrativity and Eventfulness �� T�� �����, ����������� Mü���� ����.� What Is Narratology? Questions and Answers Regarding the Status of a Theory, B�����, 2003, �. 2��2�. 442 I���., �. 24. II. Case Studies - 4. Fallen �23 sui ide. This u ial s e e lasts fo se e i utes, ith the hole episode ei g il ed i o e take ith e e p essi e a e a o e e ts. Du i g the iggest pa t of the episode the a e a uises a ou d oth e sii g a d talki g, so that the a e a o e e t does ot ha e a diegei oi aio a d thus e o es a i depe de t e e of the o e saio . He e the st lisi t aits of the il do ot o e the a ai e de elop e t. “i ila l as i Goodbye Drag I , e e ou te a tu i g poi t that fu io s o the le el of il s isual desig . But o t a to that il , he e su h a tu i g poi t as a e sho t episode the ashie s fa e oss ut ith so e s e es f o the il Drago Gate I fo the sake of st le ith o fu the i pli aio s, i Fallen the st le a ifests itself as a i depe de t featu e th oughout the il , ul i ai g i the episode u de dis ussio . As pe Da id Bo d ell, the episode i Goodbye Drago I is pu el de o ai e ith o fu the i pli aio s i the il . But i the ase of Fallen e e ou te the pa a et i ode of eak o de - he e the pa a et i it os illates et ee o e a d less pa a et i episodes, he e the sto has the uppe ha d.
. . Types of para etri ode I Narraio i the Fi io Film Bo d ell states that t o t pes of the pa a et i ode a e possi le: the spa se a d the eplete ode. I the spa se e sio the il li its its o to a a o e a ge of p o edu es . I eplete ode the il ake eates a i e to o a a ge of pa adig ai opio s. I te esi gl , Bo d ell has also des i ed the possi le elaio ships the st lisi st u tu es a ha e ith the plot o syuzhet as he alls it . He outli es th ee t pes: a st le a o pletel a d o sta tl do i ate the syuzhet; the st le a e see as e ual i i po ta e to the syuzhet; st lisi st u tu es possess thei auto o ous fu io , ut at the sa e i e the oth suppo t a d halle ge the plot. I ost il s he e the pa a et i alit appea s, syuzhet a d fa ula shit i i po ta e. Fo the pa a et i it i the ase e a ple Fallen oth aspe ts – the suyzhet a d the fa ula as Bo d ell uses the te s – a e i po ta t, e ause the displa a deep utual o d a d e hi it a e a ple he e the elaio ship et ee the st le a d the plot is fa o e o pli ated as supposed Bo d ell. “u p isi gl , o t a to i tuiio ate the i st ie i gs of the il that suggested i Fallen e ha e to deal ith a eplete e sio of pa a et i i e a, a o e ate i e ie i g led to the o lusio that the atalogue of the st lisi featu es of this il o sists of p e isel o e ele e t. Na el , a e te si e lo g take, so ei es ith a o i g a e a a d so ei es usi g a stai a e a. Ho e e , hat u ites the all is the fa t that the a e a al a s si ks to Maiss a d follo s hi i all his deeds. He e lies the u of the issue. Na el , the a e a a o pa ies hi all the i e ega dless of hethe Maiss takes
443 J���� I��� N������ Bordwell on Bordwell: Part IV - Levels of Engagement in 16:9, �������y 2005, �v������� �� ����://���.����.��/2005�02/������_���������.��� �A������� 3.02.20�4�. 444 D�v�� B������� Narration in the Fiction Film, M������, ��85, �. 285. 445 I���., �. 285. 44� D�v�� B������� Narration in the Fiction Film, M������, ��85, �. 287�288. 447 I���., �. 288. II. Case Studies - 4. Fallen �24 pa t i e e ts to hi h e a assess a high deg ee of a ai it o a lo o e. O he , du i g the lo g take, so ethi g that a e la elled as a e e t of hate e deg ee takes pla e. As Maiss is i the shot all the i e e ept, fo e a ple, i Ali a s photos , e ha e to edei e the oio of post/p e-a io lag. The e a e o o e ts he othi g happe s , e ause e see Maiss all the i e. O l i the due ou se of the shot do e e ou te o e ts he so e ki d of a a ai e takes pla e, a d these o e ts i te ha ge ith o e ts he , ith Maiss sill i the shot, the a ai e deg ee is e lo . Fo e a ple - at the egi i g of the il he Maiss alks alo g the idge lo le el of a ai it a d sudde l hea s so eo e i g fo help high deg ee of a ai it . “i ila l as i Good e, Drago I , Fallen o tai s episodes ith the ai ha a te goi g f o poi t A to B, that eate s e es ith a lo le el of a ai it . Co i g a k to Da id Bo d ell, this il is o iousl a e a ple he e syuzhet a d fa ula shit i i po ta e. I o pa iso , i The Turin Horse f o the i st gla e e a dete t spa se pa a et i it , e ause the isuall a esi g ualiies of the il a e aused lo g take i e atog aph , a d all the othe de i es a e su o di ate to it. It is a lea ase fo Bo d ell s lai that i pa a et i i e a the ie e s ai task is to oi e st lisi dife e es a d to e og ize thei e epio alit . But, as if fo esee Bo d ell, this isual igou is used i o de to tell a e si ple sto , hi h, as e plai ed a o e, possesses o sig s of e epio alit .
. . Lo g take i i e a studies As ote e io ed, slo i e a s ost p o i e t st lisi featu e is the use of a e te si e lo g take. The i lue ial A e i a il ii B ai He de so , i his fa ous a i leThe lo g take, dei es it as a si gle pie e of u edited il hi h a o a ot o situte a e i e se ue e . The lo g take e a les ise-e -s e. T adiio all , the dis ussio a out the lo g take uotes A d e Bazi , ho fa ou s it fo its te po al ealis : the lo g take s i e is the e e t s i e . “i ila l , Ma A Doa e dis usses the p ope ies of the lo g take, ut he posiio is uite the opposite to that of Bazi . “he states that I the lo g take, the i e a i a ates the ea i gless ess of a li ed ealit . The ut […] sta ilizes the i age. I these ideas she a tuall efe s to the sta da d te t a out the lo g take – Pie Paolo Pasoli i´s O servaio s o the Lo g Take. As Pasoli i hi self put it: The su sta e of i e a is […] a e dless lo g take, as is ealit to ou se ses fo as lo g as e a e a le to see a d feel. […]. But as soo as o tage i te e es […], the p ese t e o es past. He de so , i ii izi g Bazi , d a s ou ate io to the fa t that it s ot the lo g take alo e that is i po ta t, ut the use of oth – the lo g take a d edii g ithi the se ue e, e ause
448 B���� ��������� The Long Take �� B��� N������ ���.� Movies & Methods, V��. �, B������y, ��7�, �. 3�5. 449 I���., �. 3�5 450 M��y A�� D���� The Emergence of Cinematic Time. Modernity, Contingency, the Archive, C��������, M���., 2002, �. �05. 45� P��� P���� P������� Observations on the Long Take in October, V��. �3, S����� ��80, �.5. II. Case Studies - 4. Fallen �25 the lo g take is ot i itself a a isi de i e ut is a pa t of a shooi g st le a d uildi g se ue es. A o e detailed a al sis of this issue, f o the a tage poi t of staisi al st le a al sis, ill e ofe ed i the hapte a out the appli aio of Ci e et i s to the ase e a ples. Histo i all the lo g take o e ted ith a e a o e e t a d depth of ield as a fa ou ed st ateg f o the s u il the egi i g of the s ut ate that, o l of-Holl ood di e to s like Wood Alle a d the ou ge i depe de ts hose this a isi st ateg . Fo the ge ealog of slo i e a the use of the lo g take is ele a t a oss the a ious Ne Ci e as a d e a es that e e o i the s, ut it ust e kept i i d, as Da id Bo d ell states, that o l Mi hela gelo A to io i a d the late Ca l Theodo D e e used it as thei a isi sig atu e.
He e e should highlight the fu io al aspe t of this st lisi tool. Fo this e dea ou the posiio ofe ed Tiago Magalhães de Lu a see s to e the ost f uiful. I his disse taio , Realism of the Senses: A Tendency in Contemporary World Cinema, he speaks of the h pe oli appli aio of the lo g take i his ase e a ples, hi h a tuall oi ide ith the il s usuall ou ted as slo . de Lu a hails the esult as a ode of ealis i hi h spaial a d te po al i teg it is p ese ed to h pe oli e t e es. F o the fu io alist pe spe i e, a ai e i te a io i these il s is dissipated i fa ou of o te plaio a d se so e pe ie e. Thus the spe tato is i ited to adopt the poi t of ie of the a e a a d p ot a tedl stud i ages as the appea o the s ee i thei u e plai ed lite al ess. He goes o to e plai that i su h situaio s the ealit is e phasized as a p i a il pe eptual, se si le a d e pe ie ial phe o e o . The ish he ei is to fu the de elop the poi t ade de Lu a a out the efe ts the lo g take a d the so ei es u ea a le du aio a t igge fo the audie e.
. . Fu io of duraio i arraive The egi i g of the hapte add essed the uesio of hethe the sea h fo ele a e a d the sea h fo oste si e si uli i the fo of u usual st lisi de elop e ts o situte e ough a i it du i g the ie i g. It s p odu i e to o e agai etu to the uesio of fu io i a ai e o u i aio as e io ed i the i t odu io ith efe e e to the P oteus p i iple. The P oteus p i iple, suggested Mei “te e g, states that o e st lisi featu e a
452 B���� ��������� The Long Take �� B��� N������ ���.� Movies & Methods, V��. �, B������y, ��7�, �. 3��. 453 D�v�� B������� Figures traced in Light: On Cinematic Staging, B������y, 2005, �. �50. 454 D�v�� B������� Figures traced in Light: On Cinematic Staging, B������y, 2005, �. �52. 455 T���� M�����ã�� �� L��� Realisms of the Senses. Tendency in Contemporary World Cinema, U��v�����y �f L����, 20��, �v������� �� ����://�������.���������.��.��/�7�0/ ��������� M�y 20�3�, �.2�. 45� I���., �. 23. 457 I���., �. 24. 458 I���., �. 2��22. II. Case Studies - 4. Fallen �2� ge e ate a ious efe ts a d that o e efe t a e p o pted dife e t st lisi featu es. I ase of Fallen e lea l e ou te o e featu e – lo g takes ith a e e te si e du aio – hi h ge e ates se e al efe ts. Fi st of all: pa a et i it . “e o dl , it is a tool fo telli g a sto a d, thi dl , it p o pts e oio s a d se sual e pe ie es i the ie e . As al ead uoted, Bo d ell sees the sea h fo de isi e st lisi featu es, thei de elop e t a d appli aio th oughout the il , as the ost i po ta t a i it fo the ie e du i g the s ee i g of a il elo gi g to the pa a et i ode. I the ase of Fallen, i pa allel to the egist aio of the il s pa a et i it , the ie e de elops his u iosit a out the ste ious e e ts su ou di g Ali a, a d t ies to sol e the puzzle togethe ith Maiss. Ho e e , the fa t that the il s st le is do i ated e e te si e takes that a e ot al a s a ai el g ou ded the efo e e phasizes du aio as the ost i p essi e a d the ost ute l felt efe t of the il . Thus, i pa allel to plot de elop e ts a d to st lisi a iaio s, the efe t of the du aio of the shot also fo s a e i po ta t e pe ie e fo the ie e at hi g Fallen. A side e a k is e ui ed he e. Na el , that the issue of du aio has usuall ee app oa hed appl i g a ai e theo . As G eek il s ie ist Elethe ia Tha ouli has o se ed, ost il theo ists el o e the o k of G a d Ge ete o i e- elaio s i lite a a ai es as a useful tool fo ide if i g this phe o e o i i e ai a ai es as ell. I ge e al te s e a speak of a fa ula du aio , a syuzhet du aio o the so- alled p oje io i e as ide iied Bo d ell. O a o e li ited s ale, du aio a a ifest itself i fou fo s as ide iied Ge ete: ellipsis, su a , s e e a d pause. Ho e e , i this ase, the ha dli g of the oio of du aio i a ai e theo as o e of the atego ies of i e is of lesse i te est. Although Ge ete s o k ega di g speed du aio i a a ai e a e of i te est i the ase of slo i e a , if the fo us e ai s o the fu io alist pe spe i e of the a ai e, the su h a o je i ist dei iio as “te e g a es Ge ete s posiio i a othe o te t is of less use. I stead, usi g “te e g o e agai , ou a t i g a ai e s se ue es i to elaio , fa less keep shiti g that elaio f o o e o k o eadi g o o e t to a othe , e ept i a pu posi e light.
459 M��� S�������� Proteus in Quotation-Land: Mimesis and the Forms of Reported Discourse in Poetics Today, V��. 3, N�. 2 �S�����, ��82� �. �48. 4�0 E��f������ T������� Post-Classical Cinema: An international Poetics of Film Narration, L�����, 200�, �. ��4. 4�� M��� �� ���� ����� ��� D�v�� B������� Narration in the Fiction Film, M������, ��85, �. 74. 4�2 M����� ��������� Time in Narrative �� D�v�� ������, M��f��� J���, ��� M�����L���� Ry�� ����.� Routledge Encyclopedia of Narrative Theory, L�����, 2005 �. �0�. 4�3 A� �v��v��� ����� ��� ����� �f ���� ��� ������ ��� �� f���� �� E��f������ T������� Post-Classical Cinema: An international Poetics of Film Narration, L�����, 200�, �. ��3 �� ��qq. 4�4 I�����������y, ��� ���� �f ���� ������ �����y f��� ���� ��� ����� �f �q��v������ – ������� ��� �������� �f f�����, �y�z��� ��� ������ ���� ��� �q���. E��f������ T�������, �������� �������� �� ���������� ����� ��� ����� ��������� ������, ������� ���� ���� �q��v������ ���������� ��� ����� ��� �� ������ ������� ��� �����y ������ �� ������ ���� ��� ���� ����� ���� �����. E��f������ T������� Post-Classical Cinema: An international Poetics of Film Narration, L�����, 200�, �. ���. 4�5 M��� S�������� Narrativity: From Objectivist to Functional Paradigm in Poetics Today, 3�:3 ����� 20�0�, �. �05. 4�� M��� S�������� Narrativity: From Objectivist to Functional Paradigm in Poetics Today, 3�:3 ����� 20�0�, �. �38. II. Case Studies - 4. Fallen �27 With this uotaio f o “te e g the i le loses - as e io ed at the egi i g of the hapte , “pe e a d Wilso o side st le as a de o st aio of ele a e. Thus, the il ake usi g e tai st lisi de i es has also o side ed the efe ts the a ha e o thei audie e. Although the p ese t stud is ot fo used dete i g li ks et ee a il ake s pe so alit a d the i lue e it has o his il s, a uotaio f o a i te ie ith F ed Kele e i hi h he pi poi ts the fa t that fo hi it is i po ta t to gi e the audie e i e to thi k of the sel es is e ii g:
Fo e it s e i po ta t to gi e a audie e the feeli g fo i e, a d to e og ise a d e pe ie e i e o itself … Also I elie e the e is a e tai o e t he ph si al i e t a sfo s i to etaph si al i e, he the s ee looks a k to ou, ou a e ot o l fo ussed o the s ee , ou sta t to thi k a out ou self, thi gs hi h ou e pe ie e i ou life hi h a e si ila ith hat ou see o s ee . “o ou a e e u h alki g i side ou self, fo e a ple, he ou alk ith so eo e o a s ee .
This idea of Kele e s e e pliies the lai that i slo i e a the i te p etaio is ot al a s the ost suita le st ateg i o i g to g ips ith these pe ulia il s. I o pa iso , fast-pa ed Holl ood i e a o e s asts gi e i fo aio o l , ut lo g takes gi e ou a e pe ie e, hi h is e i di idual. This is the e ualit of slo i e a. This opi io of Kele e elates to Lisa d o Alo so ho also u de s o es the ea i g of the ie e i the p o ess of u de sta di g the il . Du i g the a al sis of the ase e a ple Liverpool this p oje t p oposed the o ept of p ese e as a possi ilit i ho to gai a ess to the ui k a ai es of slo i e a. I o lusio a out pa a et i it , this stud agai e phasizes that so e ki d of the ute a e a o di g to the ‘ele a e theo o i te p etaio Bo d ell o o se aio of the st lisi a iet Bo d ell , a e ot the o l possi le outes to e take du i g the ie i g. The afe i e di e sio has to also e o side ed as Kele e su su ed u de the oio of e pe ie e i the uotaio a o e . Thus, a si gle st lisi featu e a ge e ate dife e t efe ts o the ie e . The t o losi g ase studies of this su e ill e dedi ated to these othe efe ts slo il s a ha e o thei audie e. Whe eas the il Blissfully Yours highlights the dife e t afe i e efe ts a il a ge e ate,Colossal Youth u de li es the i possi ilit of o u i aio that a also a ise du i g the s ee i g of su h a il .
4�7 R����� C������� There Must Be an Outside, O������ 2005, �v������� �� ����://���.f����������.���/����/ �����v����/�����v����.���� �A������� 0�.�0. 20�2�. II. Case Studies - 5. Blissfully Yours 128 5. Blissfully Yours (dir. Apichatpong Weerasethakul, Thailand, 2002)468 – oods, hapi e perie e a d redei iio of i ersio
The e t e a ple o es f o a ou t that has o l e e tl ee pla ed o the i e ai ap. That is due to il ake Api hatpo g Wee asethakul, ho il ii s hail as o e of the ost i po ta t e e s of slo i e a. Ja es Qua dt, i the i t odu to hapte to his ook a out Api hatpo g, u de li es the halle ge that fa es il ii s i t i g to des i e his il s. This is the easo h the ost f e ue tl used t ope fo his o k is the ste ious o je t 469, hi h a tuall is a efe e e to his i st featu e-le gth il ,Mysterious Object at Noon (2000). This posiio see s to jusif the lai that it ill e a dii ult u de taki g fo a esea he to g asp Blissfully Yours i theo ei al te s. As i the p e ious hapte s, a o ise des ipio of e e ts happe i g o s ee ill e ofe ed. U like i the othe p e iousl a al zed slo i e a e a ples, e e episode i Blissfully Yours is ade up of se e al shots, a d the efo e it is t that shot that is de isi e ut athe the episode. Fo that easo the episode as a hole is the p ope ite io i the e pli aio of the il s st u tu e. E e o e, the thesis he ei is that the at osphe e is the leadi g a ai e p i iple of Blissfully Yours, a d a ha ge i to e a oi ide ot o l ith the egi i g of a e episode, ut the e i e a t. O iousl the fa t that a e e oio al to e is p e aili g i a e episode is othi g e o u usual. The dife e e i Blissfully Yours is the i po ta e of at osphe e. Na el , as p ope a ai e de elop e ts a e la ki g, the at osphe e assu es the ole of a ki d of a sto telle . Thus i the des ipio of il s plot, the a ts a e al ead st u tu ed a ou d the p e aili g atmosphere or tone they contain. The des ipio ill e follo ed a a al sis of the il s o st u io p i iples i ega ds to its deg ee of a ai e ess a d the ole of at osphe e ithi it. This ill e follo ed a ate pt to o e t the se sualit a d at osphe e that do i ate the il ith possi le audie e ea io s, e p essi g the ie that i Blissfully Yours the i e sio i to the i age is the fo eg ou di g e epio st ateg of the il . Je s Ede , po de i g o ho to des i e a d a al ze the afe i e ea io s to a il , suggests a th ee-step odel. It ill al a s e o pass th ee o po e ts: a des ipio of the afe i e ea io s to a il ; a s ste ai des ipio of the p ope ies of the il ; a d a li ki g h pothesis.470 Ho e e , Ede a k o ledges the o ple it fa i g the esea he as the
468 Apichatpong Weerasethakul was born in Bangkok, Thailand in 1970. The ilm under discussion actually comes from the early years of his oeuvre – it was his second full-length feature, but it already received international recognition resulting in the Un Certain Regard prize at the Cannes Film Festival in 2002. His greatest success to date is the Palme d´Or received at Cannes in 2010 for the ilm Uncle Boonmee Who Can Recall His Past Lives, which is also his best-known ilm. 469 James Quandt Resistant to Bliss. Describing Apichatpong in James Quandt (ed.) Apichatpong Weerasethakul, Vienna, 2009, p. 14. 470 Jens Eder Analyzing Affective Reactions to Films. Towards an Integrative Model in SPIEL (Siegener Periodikum zur Internationalen Empirischen Literaturwissenschaft), Vol. 22, 2003, p. 274. II. Case Studies - 5. Blissfully Yours 129 o e io s et ee the il i st u tu es a d the afe i e ea io s eli ited a a t o k a e loose, asso iai e, o te t-depe de t a d/o p o a ilisi .471 This is also a issue o e i g the il i uesio . The i st p o le o f o i g a esea he i te di g to s ui ize Blissfully Yours is the u p edi ta ilit of the audie e s e oio al espo ses. O iousl , if i ases of ightl ploted Holl ood a ai es the ie e s ea io s a e al ulated e ause the il is desig ed to eli it pa i ula espo ses, the all the ui k a ai es usuall su su ed u de a t i e a ofe o path that ould a i ipate e tai ea io s. E e o e, suggesio s he ei ega di g hi h aspe ts of afe i e fo s of e pe ie e a e most prominent in Blissfully Yours a e spa se fo se e al easo s. Fi st of all,Blissfully Yours i ites us to i o po ate i to ou il a al sis o a ula su h te s as i e sio a d afe i e e pe ie e, te s that i e a studies ha e sta ted to pa ate io to o l du i g the last de ades. O e ight thi k that the esea h o hi h this stud elies ould e a agea le. The situaio is e e o se – it see s the e a e t a studies o these su je ts that take a t i e a as ase e a ples. Thus, this stud a o l ofe spe ulaio s ased o su je i e e pe ie e ith o autho itai e uotaio s f o espe ta le sou es that ould su sta iate the claims. As e io ed, Blissfully Yours is a e ui k e a ple ithi o ld i e a. The poi t of depa tu e is a state e t Ca l Pla i ga, ho assu es that fou aspe ts o k togethe i the il ie i g e pe ie e: ood, e oio , odil espo ses a d og iio .472 The o te io he ei is, ho e e , that i Blissfully Yours the i st th ee fa to s a e fo e-g ou ded i a a that is u usual e e fo a t i e a, thus lea i g e e e pe ie ed il ii s stu ed. This efe t has ee a hie ed pu posefull disse i ai g le gth episodes ith a lo de sit of e oio al i fo aio speaki g i te s of G eg M. “ ith a oss the il , hi h at i st ight sou d o t adi to . Addiio all , these episodes a e eithe e e tless o the o tai e e ts of a lo le el of a ai it . What e a e let ith a e a lot of e ood episodes that, as a odil efe t, eli it i e sio i to the i io al o ld. A d to e d – a suggesio of ho to o e t the h pothesis o the e epio ofBlissfully Yours ith the ‘ele a e theo .
. . Des ripio of the il ’s stru ture: Setup (Minutes 1 – 49) The il egi s ith a episode at a do to s oi e. A ou g a a d t o o e – o e ou ge , o e olde – ha e o e to the do to e ause of a ash o the a s ski . While the do to does a lood test, the ou ge o a lea es. The olde o a t ies to get a health e ii ate fo the ou g a , ut the do to efuses to issue it e ause the a has o ID.
471 Jens Eder Analyzing Affective Reactions to Films. Towards an Integrative Model in SPIEL (Siegener Periodikum zur Internationalen Empirischen Literaturwissenschaft), Vol. 22, 2003, p. 283. 472 Carl Plantinga Art Moods and Human Moods in Narrative Cinema in New Literary History, Vol. 43, Nr. 3, Summer 2012, p. 460. II. Case Studies - 5. Blissfully Yours 130 The olde o a does ot a t to lea e the oo u il the do to issues a e ii ate, ut she efuses to eak the la . While i the e t shot e see the do to i o e saio ith the e t paie t a out a hea i g aid, the olde o a a d the a lea e th ough the doo i the a k. The a e a sta s i the do to s oo o se i g the o e saio et ee the do to , he e t paie t a d his daughte . The shot e ds i the iddle of a se te e. I se e al shot th oughout the il the olde o a a d the a head to the a ket. As so e od alls out to the olde o a , e lea he a e is O ; the ou ge o a is the gi lf ie d of the ou g a . I se e al shots e it ess O a d the ou g a a i i g at a go e e t oi e, hi h, as it tu s out, is the o kpla e of “i ote – O s hus a d. We also lea that the ou g a is alled Mi . “i ote ii izes O fo faili g to get a health e ii ate fo Mi . I this episode e lea the a e of the ou g gi l - it is ‘oo g, a d she egula l gi es o e to O , ut e e e lea h . The o e saio tu s to O s ish to ha e a othe hild, ut “i ote see s elu ta t as the se o d hild ould d o as the i st did. Mi sits o a e h a d a st a ge p oposes to eat togethe , ut Mi a ot talk to hi . Whe O o es, the st a ge eases to othe Mi . O lea es th ough the doo o the let. “i ote a d a olleague e te , a d he i t odu es Mi as his ephe f o the ou t side. At this poi t it should e oted that Mi has et to talk. As e lea f o the o e saio at the do to s oi e the ou g a a ot a s e uesio s hi self e ause of his so e th oat. But i the due ou se e u de sta d that he p o a l does t talk i o de to hide his ad Thai, e ause he is p o a l illegall i Thaila d. A pa o a i lose-up of dife e t tu es a d ja s of ea s. O a d “i ote s olleague sit at a ta le hoppi g egeta les. I a lose-up e see ho O i es egeta les i to the ea . Whe “i ote o es i a d asks hat the t o of the a e doi g, O ofe s hi a taste of the egeta le a d ea i a d he a epts. We lea that O is to isit ‘oo g at the fa to . The episode at “i ote s oi e lasts fo te i utes. I t o shots e it ess O a d Mi lea i g the uildi g a d gei g i to a a . O applies ea o Mi s a . The a sta ts to o e a d the a e a is posiio ed f o ehi d so a ghost- ide efe t o u s, lasi g a i ute a d a half. Ate t o uite sho t shots i side the a the e is a othe ghost- ide shot fo half a i ute, i hi h e see “i ote s olleague To app oa hi g o a oto le. I se e al shots he t ies to at h O s ate io – he has a plasi ag ith he egeta les. The o es a shot ith the a e a posiio ed i f o t of the a looki g ahead. This ghost- ide-like shot lasts fo al ost a i ute. The a ut to the i te io of the a , follo ed a othe ghost- ide shot f o the f o t of the a , u il the a a i es at a gate that ope s. Ja es Qua dt u de li es the agg essi e ode of this episode, hi h is u de li ed O sa i g I feel like II. Case Studies - 5. Blissfully Yours 131 hii g so eo e ,473 ut it a also e u de stood as he ea io to the az oto list i f o t of he To , ho she does ot e og ize , ho distu s he d i i g. As pe usual i Api hatpo g il s, the easo h To t ies to at h O s ate io is t e plai ed. “o the a ai e fu io of the shots is ot of p i e o e he e. At the fa to gate a gua d he ks O s d i e s li e se. Whe eas O a d i e o the te ito , Mi has to sta at the gua d house. A lose-up of a ha d pai i g a g psu igu e. The ‘oo g sta ds up a d lea es. Ate a talk ith a a age she gets the ate oo of, ut he a s he ot to i g the Bu ese a Mi to the fa to agai . ‘oo g des i es hi as O s ga de e . As at the egi i g of the il he Mi as p ese ted as “i ote s ephe f o the ou t side, his eal o igi e o es o e a d o e o s u e. It see s that e a ot el o hat e e told, a d ha e to athe el o the i age. Mi s sile e see s to suppo t this h pothesis. I the pa ki g lot the o e ua el o e ‘oo g s e e pe si e ea , hi h O has o dest o ed pui g egeta les i it. ‘oo g gi es O so e o e . O lea es the fa to o the oto le, hile ‘oo g a d Mi go a . I the a , the hold thei ha ds. These i ages alte ate ith ghost- ide shots of s e e outside the a s i do , o f o the a k of the a . The episode lasts fo fou i utes a d hile the a e a il s the ie f o the f o t i do , the ope i g itles of the il appea to the sou d of a Thai pop so g. Du i g the se ue e the e is a i te ha ge of dife e t shots of the a s i te io a d ghost- ide shots of the passi g s e e . Whe the ope i g itles a d pop so g a e o e , the a o i ues its jou e ith a ie f o the f o t i do , ut i the of-s ee e hea Mi s oi e e plai i g that he a ted to i g ‘oo g he e - e ause she had a bad day.
Co pli ai g a io i utes 5 - - Pasto al Ate steppi g out of the a , Mi a d ‘oo g oss a eado i to the ju gle he e Mi u d esses e ause the lothi g auses hi pai . The o i ue to alk th ough the ju gle fo app o . eight i utes u il the ea h a spot ith a ie . The e the set a pi i loth. Mi eats u k o e ies; ‘oo g joi s hi a d the sa ple so e othe e ies, the the kiss a d egi aki g out ut ha e to stop e ause Mi s ski hu ts. The o i ue to eat e ies; ‘oo g stops Mi s app oa hes. The ouple etu to the spot o the lif a d sta t to pi i . “upe i posed ii g appea s o e the i age a d Mi s oi e i the of speaks hat is ite . He e plai s that ‘oo g taught hi Thai. Ate a othe i ute of pi i ki g a supe i posed d a i g appea s depi i g a gi l ith a lo e ? – it disappea s ate se e al se o ds. The pi i loth is o e u a ts, so the ouple de ides to t a othe spot.
473 James Quandt Resistant to Bliss. Describing Apichatpong in James Quandt (ed.) Apichatpong Weerasethakul, Vienna, 2009, p. 49. II. Case Studies - 5. Blissfully Yours 132 De elop e t i utes - I te ou se i the oods Quite a lo g stai shot sho s O ha i g se ith he lo e To , hi h alte ates ith O s su je i e poi t of ie o the su shi i g ehi d the t ee lea es. To th o s a used o do a a . Thus e a i fe that O s desi e to ha e hild e is ot goi g to e fulilled. “hots of sile e a d the ouple esi g alte ate ith O s su je i e poi t of ie of the su ehi d the t ee a hes. To egi s to saisf O ha d, ut is dis upted the sou d of his oto le – he u s a a to hase ate the thief. O sta ts to d ess a d hea s gu shots i the dista e. Fade out.
Cli a i utes - Ri e se ue e. A lose-up of a pi i ta le ith a d a i g of a ouple supe i posed o the i age. Mi a d ‘oo g ha e fou d a e spot e t to a st ea a d o i ue to pi i . Mi d ea s of i di g a jo i “i gapo e. He also isses his fa il . ‘oo g lai s that she ould e happie if O disappea ed. No o e likes O , she sa s. “he is pho e a d a e tal ase. The ouple sits o the a ks of a st ea ith thei legs tou hi g the ate – the e is the sou d of u i g ate . A d a i g appea s ith te t stai g that a o f ie d hit ‘oo g a d she ied. The ouple o i ues to pi i . O alks th ough the ju gle, ut ate a hile the shot is o e laid a d a i g that sho s O athi g. “he o i ues to a de th ough the oods. O s alk lasts fo fou i utes. I o pa iso to ‘oo g a d Mi s st oll, the ju gle o looks hosile a d a ped. O pi ks up a si k i o de to p ote t he self? . I a al ost i ute-lo g shot e see ‘oo g gi i g Mi a lo jo o the a k of the st ea . O spies o the ouple f o ehi d a ush, ut the joi s the . ‘oo g does ot see pleased. O e plai s that she as looki g fo Ke g at a ai ase Ke g is a ha a te f o Api hatpo g s late il T opi al Malad ! , ut got s at hed up. ‘oo g piies he a d i ites he to o e i to the ate . O hesitates, ut ‘oo g assu es he that she is ot goi g to kid ap si ! he . The i te p etaio of the s e e as a i te ded u de is suppo ted the fa t that as ‘oo g takes O ha d i to the ate Mi alls out to he as if se si g that so ethi g ad ight happe . Vie e s ho do ot suppo t the u de -thesis a ega d Mi s all as a o al a t of ate io to a ds ‘oo g. ‘oo g takes O the ha d a d the a e a o e t ates o the ha ds of oth o e ; of- s ee ‘oo g e ou ages O ot to e so te se a d i gs he deepe a d deepe i to the st ea . ‘oo g e e sa s that the e is othi g to e af aid of si ! . The , sudde l , the at osphe e of the episode ha ges – the e a i g to e disappea s as ‘oo g di es i to the ate , laughs a d splashes O . But O sill looks ist usfull at ‘oo g. The gi l suggests O dip i to the ate a d as she does so O sta ts to s ile, so that a fea s of a u de fade a a o pletel . Fu the de elop e t suggests that ‘oo g e e a es a out O he she asks hat O is doi g he she a ts to go deepe i to the ate . O sta ts to s i a d oth o e laugh at ea h othe . A a eless, jo ful at osphe e sp eads. II. Case Studies - 5. Blissfully Yours 133 The ‘oo g sudde l slips u de ate , ut o es up ight a a assu i g us that e e thi g is al ight – this is a othe poi t i the plot he fea s a out a ha a te s fate ould a ise i the audience. O i ites Mi i to the ate to ha e a look at his ski , ut ‘oo g goes to the sho e to get the tu e of ea . The o e appl the ea to Mi a d athe hi i the ate . Mi e p esses fea ut ‘oo g assu es hi that he should t e af aid. As Mi loats o the ate the a e a ilts to the t ees o the sho e, a d i the of-s ee Mi eads a lete to his ife, N o. It see s that this takes pla e i the futu e. He tells he that he has a jo as a ele t i ia i Papua Ne Gui ea. He asks ho ‘oo g is doi g. “eei g kids o the st eet e i ds hi of his o kids, he hopes to o e a k, he ill lea e soo . As so ote i this il , the lete e ds i the iddle of the se te e. The th ee ha a te s o e a k to the sho e a d sta t to d ess. ‘oo g puts o Mi s t ouse s. O i sists o goi g ho e ut ‘oo g tells he to sta a hile e ause she is ha i g fu . ‘oo g a d Mi lie o the sho e a d s ooze. O sits e t to the pi i loth. At i st she just gazes i to the ate , ut the she lea s the loth of food d oppi g it i to the ate a d lies do . Fo o o ious easo she sta ts to . O e agai the i age is ope to i te p etaio . Is she thi ki g a out he lost hild o of the p o le s i o ei i g a e o e? O a e she isses he lo e hose fate is u k o at this poi t? The shot of a i g O lasts fo al ost a i ute. The she sta ds up a d he ks the o te ts of ‘oo g s pu se. Ate i di g othi g of i te est i it, she the i ds iga etes e t to the ags a d lights o e. ‘oo g takes Mi s pe is out of his pa ts a d pla s ith it – this lasts fo al ost a i ute a d a half. O o i ues to s oke, the she la s do . ‘oo g s oozes esides Mi ; this stai shot o i ues fo fou i utes.
Epilogue i utes – - E d of pa adise. A poi t of ie shot of lue skies ith louds fo t e t se o ds follo ed a la ds ape ith ist oods a d a louded sk displa ed fo al ost a i ute. The e t shot is a e sho t take o ‘oo g s eepi g fa e hile looki g i to the a e a. The il e ds just like that, like i the iddle of a se te e, hi h e ha e it essed efo e as the di e to s st ateg . The losi g itles egi ith a o e ie of hat has happe ed to the ha a te s. Mi is i Ba gkok aii g fo a jo at a asi o. ‘oo g is a k ith he o f ie d of ho e k o othi g ut that he hit he , O o i ues to o k as a e t a i Thai o ies.
. . Buildi g a four-a t s he e ithout a proper ause-a d-efe t- hai Blissfully yours is a il that i gs the fou -a t s he e to the edge a d dis loses its eak esses i ega ds to a t i e a a aio . “u e the il has a st u tu e of dife e t pa ts, ut o l the set-up, although i e sel e pa ded, o espo ds to the lassi al s he e as des i ed II. Case Studies - 5. Blissfully Yours 134 Tho pso . I it, as is usual i the i st pa t of a il , e e ou te ai ha a te s i thei ha a te isi situaio s a d lea a out thei a ge a d eeds. But, as e io ed, Api hatpo g lea es a a ai e paths ope - fo e a ple, at “i ote s oi e a olleague of his tou hes Mi ith u dou tedl ho ose ual i te io s, ut the il does ot pu sue this situaio fu the . At the sa e i e, episodes that depi t se sual situaio s o i e sio i to the i age a e g a ted a e lo g s ee i e, su h as the ide i a a o ha a te s ha ds tou hi g u de ate at the app o . th, thand 106th minutes). I o pa iso to sta da d ases, Api hatpo g s il s a e a ki d of agi o as e fe episodes de elop f o a othe . I the set-up the e a e o l t o e al hi ts a out hat the ha a te s a e goi g to do e t ‘oo g lea es the do to s oi e e ause she has to go to o k; O e io s to “i ote that the a e goi g to isit ‘oo g at the fa to , so that a o e a hi g sto li e a e esta lished. But ostl the episodes follo ea h othe ith o pa i ula auses li ked to p e ious episodes. The il is ai l a alig e t of episodes that do ot de elop a o di g to a ause-a d-efe t hai , ut athe th ough de elopi g e oio s a d feeli gs, sho asi g a pa i ula situaio , a i g the at osphe e o a so i g the audie e i to a t a e-like a i it . It ill e o e o ious late o that gi i g i fo aio a a ithout p ope l e plai i g it is o e of Api hatpo g s a ai e st ategies. The di e to likes eai g iddles. I this stud s opi io the edit se ue e e ds the il s p olo ged set-up, i hi h e e ou te the ai ha a te s i thei ha a te isi sei gs – Mi at the hospital, O at he hus a d s oi e a d aki g he ste ious ea , a d ‘oo g at he o kpla e. Although o o e ha d e dis o e i po ta t fa ts a out the ha a te s fo e a ple that Mi eeds a health e ii ate , at the sa e i e the di e to p o ides us ith i fo aio hi h leads us ast a the o fusio a out hethe Mi is “i ote s ephe o O s ga de e o lea e us diso ie ted What is the pu pose of O s ha d- ade ea ? Wh does To follo O ? Wh does ‘oo g ha e to gi e o e to O a d “i ote? As e io ed, u like i othe slo i e a il s the shot is ot de isi e i Blissfully Yours, ut athe the episode o e e a la ge pa t of a ai e. It see s that the il s a ai e pa ts a e su su ed u de a the e. “o the o pli ated a io o espo ds to the pasto al ood ith the ou g ouple i the ju gle, hile the de elop e t at hes the se ual i te ou se et ee O a d To i the oods, ut the il ea hes its li a i the i e se ue e a d e ds ith the e d of the pa adise loo i g du i g the last fe i utes of the il . The to e ha ges f o eas happi ess pasto al - o pli ai g a io , to od - u ki g se de elop e t , the f o ho i idal ese t e t to s eet o a e i the i e episode li a , a d e ds ith a ki d of elod a ai to e i the epilogue. These dife e es et ee the pa ts a e hat d i e the sto fu the , ot the ause-a d-efe t hai . Ea h pa t, e ept the set-up, a so s the ie e s i to the i age a d e e ha ge i to e pulls the out of the t a e, ut o l fo a sho t hile as the su se ue t pa t a so s the ie e agai . II. Case Studies - 5. Blissfully Yours 135 The sou d of lo i g ate a d si gi g i ds foste s a possi le i e sio i to the i age a d uilds up a ki d of t a e he e the o e all at osphe e of the situaio is de isi e athe tha the pa i ula a io o s ee . Ate the th eate i g episode he e the e as a fea that ‘oo g ould d o O , ea h follo i g episode o tai s less a d less a io so that the sto o es to a halt. It i ishes ith e pi ess – the stai i age of the la ds ape that a e i te p eted as a stop. I a ase, the pa ts a e ot e e oughl e ual to a fou -a t s he e setup – i utes, o pli ai g a io – i utes, li a – i utes, epilogue – i utes . Ho e e , the di isio s a ot e also see as totall a it a – the o espo d to the le gth of a a ai e pa t of a pa i ula ood. But the de isio of ho lo g su h a pa t has to last is o pletel o the il ake a d, as e ha e see , Api hatpo g does t follo a fa ilia path. The shot, the episode, the a ai e pa t lasts as lo g as the di e to a ts it to a d e tai l ot fo as lo g a il ii s ould e pe t o il aki g a ual ould suggest. The il e ds ith a halt – a shot of the sk . Nothi g is i oio fo e a ple, th ough the stead fo a d- o e e t of the ha a te s idi g i a a o alki g th ough the ju gle . Although O suggests goi g ho e, this ai is ot pu sued i the il – the ha a te s a e just l i g o the i e a k. A ph ase ote hea d i efe e e to slo i e a a e applied: othi g happe s . At the e d of Blissfully Yours othi g happe s a o e, the efo e the story has reached an end.
. . Degree of arrai it a d tella ilit As des i ed a o e, ost of the a i iies i the il hi h a e des i ed as e e ts su h as Mi t i g to get a health e ii ate, O i i g a ea , O ha i g se , O e p essi g the ish to ha e a othe hild a tuall ha e a o pa ai el high deg ee of tella ilit . Ho e e , the ha e o fu the i pli aio s i il s a ai e de elop e t. I te esi gl , the il s a ai e a ui es o e st u tu e if e look at the episodes ith the lo gest du aio . The il s ope i g s e e at the hospital that lasts fo i utes is the i st to o e to i d. The the e a e the t o a ides – O a d Mi d i i g to the fa to he e ‘oo g o ks a d the ‘oo g a d Mi d i i g to the ju gle. The episode ith O at the heel lasts fo i utes; the passage f o the it to the ju gle lasts fo i utes i ludi g the ope i g itles . Du i g the i st a ide O applies ea to Mi s ha ds. Ho e e , this is the o l a i it esides the jou e itself that a e des i ed as ha i g a ea i g i the episode. Although e hea d i the s e e at the hospital that Mi g has ski p o le s, e a ot atest a a ai it to the s e e i the a e ause it ields o fu the o se ue es. Du i g the d i e to the fa to the ie e a oi e To d i i g a oto le a d t i g to at h O s ate io , ut, as is usual i slo i e a, this a i it is so i us ule – the stagi g does ot di e t ou ate io to To – that it a easil go u oi ed. Thus, hat o es to p o i e e i stead of the a ai e pote ial of a pa i ula a i it is the u usuall lo g du aio of the se ue e hi h, i a ai e te s, deli e s o e i fo aio . O iousl II. Case Studies - 5. Blissfully Yours 136 the s e e the a goes th ough ha ges, ut it does ot afe t the sto . What e a tuall o tai a e episodes uilt of se e al ot e lo g shots474 ith al ost the sa e a ai e i fo aio that possess a lo deg ee of tella ilt – espe i el O a d Mi a d ‘oo g a d Mi i a a . Thus, the ause-a d-efe t hai o , as des i ed p e iousl , the le el of a ai it o situted the st e gth of the o ds et ee the a ai e e e ts is e loose a d jusiied o l ith the fa t that the e e ts follo ea h othe i a li ea fashio . The episodes i the ju gle a e a si ila ase – the ou g ouple st olli g th ough the fo est i utes , aki g-out i utes , O ha i g se i utes , O s alk th ough the ju gle i utes , et . Fo the i e ei g it a e stated that lo g st et hes of Blissfully Yours consist of accumulated a i iies that ostl ha e o ausal i pa t o fu the a ai e de elop e t. Thus, e a atest a lo deg ee o le el of a ai it to the plot. Ho e e , the e a e se e al episodes i the il that a e e e o e u usual. These a e the th ee episodes that see to e the i e oi e of Mi a d a e e e pliied as d a i gs o the il i i age ith a a o pa ied oi e-o e . These a e the o l o e ts i the il that p ese t o ete i fo aio a out Mi . Ho e e , as the la k a i e a ke s the sill e ai i dei a le ithout a possi ilit of a a gi g the i a te po al o de a o di g to the plot. It see s that Mi s last oi e-o e takes pla e so e i e i the futu e, ut e e ei e o p oof fo that. The lai he ei is that these episodes e i h the il s a isi desig a d fu io all e la ge a d e ou age the ie e s i agi aio i de elopi g Mi s sto e o d the s e es sho o s ee . The e hi it a high deg ee of tella ilit fo the de elop e t hi h does ho e e pla e ost of the espo si ilit o the ie e . This stud e e suggests that ho fa the ie e a ts to de elop the sto is o pletel let to his i agi aio a d e gage e t – the il ake has set o li its fo that. Thus, the o ept of gap Lee stelle a e e i hed ith a e u usual e a ple. As the il goes o , ho e e , ithout a fu the li ge i g o Mi s oi e-o e sto ies, the de elop e t of Mi s sto e o d the o s ee e e ts ill o iousl e postpo ed to ate the s ee i g. I stead, the audie e ill follo the du aio al episodes ith o e a ai e i fo aio a d t to i d a a epta le app oa h of ho to deal ith these mysterious objects. The lai he ei is that these e lo g episodes depi i g e e ts ostl possessi g a lo le el of tella ilit a a ged i a e loose a ai e o de ut o tai i g i p essi e at osphe e ha e t o efe ts o the ie e : a el , the eate e tai oods a d ause i e sio i to the i age as a efe t. Both the oio s of ood and at osphe e a e used i te ha gea l i i e a studies; ho e e , at osphe e has al a s ee t eated as a p ope t of the i age. The follo i g su hapte sta ts out oa hi g the issue of at osphe e a d the fu the tu s to the oods- ue app oa h, hi h see s to e est suited fo a al zi g su h a u usual il as Blissfully Yours. I doi g so, ho e e , this stud , hi h u il o as o e ed ith dis losi g a ai e st u tu es i the
474 For more on the issue of shot lengths see chapter III. on statistical style analysis and parametricity. II. Case Studies - 5. Blissfully Yours 137 il s i uesio , tu s a a f o pu e dete io of a a ge e ts of e e ts i to a ai e se ue es a d passes i to the eal of he e eui s. But the ha ge i odus ope a di is g ou ded i the i di gs e plai ed a o e. Na el , the o ept of the a t s he e is o l pa tl o siste t ith the st u tu e of Blissfully Yours. The fact that mood and atmosphere not only suppo t the sto ut de elop i to the ai d i i g fo e fo the il s st u tu e de a ds a ha ge of app oa h.
. . At osphere as the leadi g arrai e pri iple B iish il ii Jo atha ‘o e , ho dei ed slo i e a i Sight a d Sou d agazi e, highlighted at osphe e as o e of its ost i po ta t a ke s. 475 Blissfully Yours deli e s a e a ple he e at osphe e ot o l pla s a i po ta t ole i the il , ut e e o situtes the st u tu i g p i iple of the a ai e. “o, i the se o d pa t of the il , ea h e sto tu o espo ds ith a ha ge i to e. Wat hi g this il o espo ds to the t ai of thought des i ed Ge a aesthei ia Ge ot Böh e, ho add esses the issues of the aesthei s of the atmosphere. O e a use his o ds i stai g that:
Ma i d i ht du h das Bild als )ei he auf desse Bedeutu g e iese die a da alle falls de ke kö te , so de das Bild ist i ge isse Weise sel st, as es da stellt, d.h., das Da gestellte ist i u d du h das Bild p äse t. Natü li h ka a au h ei sol hes Bild lese u d deute , a e das heißt die E fah u g de P äse z des Da gestellte , ä li h die At osphä e des Bildes, ü e sp i ge ode ga e leug e .476
As e e pliied a o e, the oio of at osphe e leads ou t ai of thought o e to a ds phe o e olog . As this stud is o e i te ested i il pe epio f o the a tage poi t of og ii e app oa h a d p ag ai s, it see s o e app op iate to oa h this issue usi g the ood- ue app oa h as de eloped G eg M. “ ith, a d fu the a e ded Ca l Pla i ga. The ost i te esi g poi t ega di g at osphe e i i e a is the uesio hethe at osphe e is a i he e t ualit of the i age itself, o does the ie e appl it to the shot. “ ith a d Pla i ga ofe pa i ula l ell-suited help i a s e i g this uesio . What follo s is a o e ie of the o epts of ood a d of i e sio as a efe t of it, a d the suggesio of ho it a e applied to the a al sis of Blissfully Yours.
. . The ood- ue approa h As de o st ated a o e, the ai o st u i g p i iple of Blissfully Yours is based on at osphe e – al ost all the episodes, a d espe iall the ost du aio al o es – ha e a pa i ula p e ale t e oio al to e. The suggesio he ei is that the o ept of oods as de eloped G eg M. “ ith a d fu the adopted Ca l Pla i ga ofe s a plausi le tool fo app oa hi g this issue.
475 Jonathan Romney In Search of Lost Time in Sight & Sound, February 2010, p. 43. 476 Gernot Böhme Atmosphäre. Essays zur neuen Ästhetik, Frankfurt am Main, 1995, p. 24 II. Case Studies - 5. Blissfully Yours 138 The i st task is to u de li e the ai ad a tage of “ ith s theo : his dei iio of ood is ot e essa il li ked to the o s ee ha a te as is the ase ith ost app oa hes that a al ze the ole of e oio s i i e a477. I deed, his app oa h also allo s fo as i i g the po e of eai g ood to usi , ele e ts of stagi g, olou , sou d a d lighi g. Thus, it s possi le to allot st le the ole it dese es i e oki g e oio s i the ie e . As “ ith ightl e a ks, these sta da d app oa hes to e oio i il s e eit a ha a te s a io s, oi aio s, a d goals, e ause these fu io s a e ightl li ked to the fu io of e oio s. Na el , i o t ast to oods, e oio s a e usuall thought of as ei g o je t-, a io -, a d goal-o ie ted.479 A ood, as “ ith holds:
is a p epa ato state i hi h o e is seeki g a oppo tu it to e p ess a pa i ula e oio o e oio set. Moods a e e pe ta ies that e a e a out to ha e a pa i ula e oio , that e ill e ou te ues that ill eli it pa i ula e oio s. .. Moods a t as the e oio s ste s e ui ale t of ate io , fo usi g us o e tai si uli a d ot others. If e oio s a e ief states, the oods a e o e lo g-lasi g a d o e difuse. These t o dei iio s a e the o e of o te io he e. As Pla i ga ightl a gues, “ ith s dei iio of e oio s a d ood a e a tuall e fuzz , e ause the e a e oods that a e sho t-lasi g o of lo i te sit , a d the e a e e oio s hi h a ot e des i ed as ief a d intense. This stud o u s ith Pla i ga stai g that a o i aio of oods, e oio s a d/o ph siologi al states a se e as o ie i g e oio al states . “e o dl , a e oio a also ge e ate a ood. The p i e assig e t he ei ho e e is t to i all sol e this o t o e s ega di g a p ope dei iio of e oio a d ood. Fo heu isi easo s this stud ill use a si pliied oio of e oio as a sho t, ut goal-o ie ted state a d ega d ood as lo ge lasi g a d hazie . The poi t ega ded as o e i po ta t fo the fu the a al sis of Blissfully Yours is the disi io Pla i ga akes et ee a t oods a d hu a oods. The i st oio , as Pla i ga a k o ledges, is a tuall a etapho – st i tl speaki g, il s a ot ha e oods. Thus a t oods a e ot afe ts the sel es, the e el se e as eli ito s of hu a oods although ot al a s . I o pa iso , a hu a ood is a dis ete e tal a d odil state. E e o e i te esi g a d i po ta t fo the pu poses he ei is the passage i Pla i ga s
477 For example, Noël Carroll The Philosophy of Horror, or Paradoxes of the Heart, New York, 1990; Ed Tan Emotion and the Structure of Narrative Film: Film as an Emotion Machine, Mahwah, 1996; Torben Kragh Grodal Moving Pictures: A New Theory of Film Genres, Feelings, and Cognitions, Oxford, 1999. 478 Greg M. Smith Local Emotions, Global Moods, and Film Structure in Carl Plantinga, Greg M. Smith (eds.) Passionate Views: Film, Cognition, and Emotion, Baltimore, 1999, p. 126. 479 Ibid., p. 105-106. 480 Ibid., p.113. 481 Ibid., p. 112-113. 482 Carl Plantinga Art Moods and Human Moods in Narrative Cinema in New Literary History, Vol. 43, Nr. 3, Summer 2012, p. 459. 483 Ibid., p. 459. 484 Ibid., p. 461. 485 Ibid., p. 461. II. Case Studies - 5. Blissfully Yours 139 a i le o e i g the e o aio of hu a oods. He a es at least th ee fa to s espo si le fo that. These a e: e oio s, th ough fo a d o te t asso iated ith pa i ula oods a d og ii e st les asso iated ith pa i ula oods. It see s that Pla i ga s efo ts i t i g to i d a lea - ut soluio i ega ds to hat ge e ates ood, is a ate pt to sol e a hi ke -a d-egg-situaio . Na el , e e efo e the sto egi s – hi h has to e u de stood og ii el a d, o se ue tl , ields e oio s a d/ o oods – hat is o s ee a e dife e t fo s, olou s a d sou ds that al ead e oke so e ki d of a a t ood. We a te tai el guess that f o the poi t he the sto sets i hu a oods a d e oio s ill e i du ed. Thus, e o e agai ha e to pa o e ate io to afe i el ha ged ualiies th ough fo a d o te t as Pla i ga alls the . Ho e e , Blissfully Yours o tai s o e e sig ii a t s e e he ei the i te pla et ee the a t ood a d the e oio s i ested the ie e is o e o pli ated. It s the episode ith the th ee ha a te s s i i g i the i e . It is a ight, su ate oo o a pi tu es ue i e a k. The sei g alo e ould i du e o l a posii e ood i the audie e. At the egi i g of the episode ‘oo g e ou ages O to o e i to the ate , ut she hesitates. Ho e e , ‘oo g s state e t that she is ot goi g to kid ap he a tuall its ith a ph ase she e p essed a fe i utes ea lie that ‘oo g ould e happie if O disappea ed . Thus these t o e al ute a es, although e p essed i a pasto al at osphe e, a aise suspi io s i the ie e of hethe ‘oo g a e a i g i ad faith. O s hesitaio o l ei fo es this dou t. E e o e so, Mi alls out to ‘oo g as if a i g to sa so ethi g o t i g to p e e t a atast ophe. I the due ou se of the s e e, as ‘oo g takes O ha d deepe a d deepe i to the i e , the gi l e ou ages O ot to e so te se – that the e is othi g to e af aid of. E e to a il ie e ith litle o p ehe si e i e a ie i g e pe ie e, these se te es a d a io s a se e as a a i g that so ethi g ad is goi g to happe . All of a sudde , as ‘oo g sta ts di i g, laughi g a d splashi g ate , the at osphe e of the s e e ha ges i to the a eless jo that s i i a ould i e o a hot su e ate oo a i g a out. The e a i g at osphe e at the egi i g of the episode is ot aused the sei g – it a o l e o luded taki g i to o side aio p e ious de elop e ts. Whe the to e ha ges the i te pla of the fo al s ste a d the plot eates a jo ful ood that the ie e a sha e. O iousl , the o ept of gap Lee stelle is a le to a ui e a addiio al fa et he e – if the p e ise e oio al o te t of the s e e is ot gi e , e a ha e to i g it i to the i age. Ho e e , ases he e the p ope ood of a episode a e esta lished o l th ough o te tual o side aio s a e a tuall uite a e i i e a. It is usuall the othe a a ou d – the i age alo e ith olou s, fo s, o e e ts a d au al efe ts, a d usi if p ese t, al ead se es as a sou e fo a pa i ula ood. The i e episode is uite u usual fo a othe easo as ell. Na el , i o pa iso to othe
486 Carl Plantinga Art Moods and Human Moods in Narrative Cinema in New Literary History, Vol. 43, Nr. 3, Summer 2012, p. 464. II. Case Studies - 5. Blissfully Yours 140 episodes taki g pla e i the ju gle, the ost sig ii a t ele e t fo dei i g the s e e s ood elo gs to the eal of plot. Fo othe s e es – the alks th ough the ju gle, sleepi g o the i e a k, et . – “ ith s follo i g o se aio is de isi e:
.. e a ot edu e a il to its ost a ai el sig ii a t ele e ts a io s hi de i g o fu the i g a ha a te s goal a hie e e t . .. We should the efo e e a le to i d highl oo di ated u sts of e oio ues that ha e litle o o efe t o the o e t diegei ai a hie e e t of a goal .
“ ith la els su h u sts of e oio as e oio a ke s hi h ha e o othe ai tha to eli it ief o e ts of e oio . It has o efe t o a ai e de elop e t hatsoe e . Ho e e , a o di g to “ ith s dei iio of e oio s a d ood, these a ke s fu io as a e a d fo the ie e e gaged i a app op iate ood. What is highl i te esi g i his app oa h is the sta e that il s a e of o e o less de sel e oio al i fo aio . Whe eas a il ith de se e oio al i fo aio is desig ed to eli it e oio s ith g eat f e ue a d spe ii it , a il ith spa se i fo ai e e oio al a aio p o ides fe e edu da t ues.490 “ ith o i i gl de o st ates that a il su h as Raide s of the Lost A k hi h has a e st o g goal-o ie taio e p esses g eat de sit , ut Lo al He o , a e a ple of a i g deg ees of goal-o ie taio , is also a less de sel e oio al i fo ai e il .491 A li k e ists et ee the goal-o ie taio of the ha a te s a d a il s e oio al i fo ai e ess, as “ ith alls it. Blissfully Yours is an example of that, a d if e take the du aio of the episode i to a ou t, the situaio a e e e o e o pli ated. As suggested a o e, though the ha a te s goals e ai u lea , Blissfully Yours a sill e o side ed as a il st u tu ed a ou d oods. The dife e e et ee e oio s a d ood has to e st essed et agai , pa i ula l i ega ds to du aio . E oio s a e ief states, ut oods a e lo g-lasi g a d difuse. What e a e deali g ith i Blissfully Yours is a tuall oods ith o lea - ut e oio s as u de stood “ ith ith a e epio of the sho t u st of e oio of a ge a out O i the i e episode . Addiio all , the oods i this il do ot fu io as a p epa ato state fo a e oio hatsoe e . Thus, i the ase of Blissfully Yours e a ot speak of e oio al a ke s as eato s of ief e oio s – the e is o su h thi g i this il . The e a e a ious le gth episodes ithout goal-o ie taio , o l ith a eig i g ood. Thus, a o di g to “ ith s dei iio s, hat e ha e i f o t of us is a il ith a lo le el of i fo ai e e oio al te t. O e of the easo s fo this is the fa t that this il as a a t il eates o ge e i e pe taio s i the ie e . “ ith s a ou t has also a i ipated su h a ase:
487 Greg M. Smith Local Emotions, Global Moods, and Film Structure in. Carl Plantinga, Greg M. Smith (eds.) Passionate Views: Film, Cognition, and Emotion, Baltimore, 1999, p. 117. 488 Greg M. Smith Film Structure and the Emotion System, Cambridge, 2003, p. 44-45. 489 Ibid., p. 45. 490 Greg M. Smith Local Emotions, Global Moods, and Film Structure in Carl Plantinga, Greg M. Smith (eds.) Passionate Views: Film, Cognition, and Emotion, Baltimore, 1999, p. 120. 491 Ibid., p. 121. II. Case Studies - 5. Blissfully Yours 141 The ood- ue app oa h ould suggest that if a il does ot take ad a tage of e oio p otot pes asso iated ith ge e o goals, it ust el o o -p otot pi all o ga ized e oio ui g. O e soluio ight e to a a ge a apid se ies of s alle ues that sustai the ood. B shiti g to a faste pa e of ui g, the il a p o ide ei fo e e t fo the ood o ie taio , e e if the e a e fe goal o ge e e pe taio s to guide ou a i ipaio .492
O e ight thi k Blissfully Yours is the pe fe t a s e to “ ith s suggesio . Co side , fo e a ple, the episodes i the a O a d Mi d i i g to ‘oo g s o kpla e; ‘oo g a d Mi d i i g to the ju gle , o the alks i the fo est. These episodes a e uilt o sho t uts, ho e e , as the episode goes o a d the sa e a i it is ei g pu sued i the e t shot a d i the e t a d so o , the ie e e ei es the i p essio that the hole episode has ee il ed i just o e take.493 Thus, although e e ou te a ki d of a ju p ut he e, it does ot a ouse o distu the ie e i the a a lassi al ju p ut á la Goda d ould do. It a e e e ai u oi ed. But thus the p e aili g ood of the episode is sustai ed. At this stage, the e te ded le gth of the du aio al episodes e io ed a o e should e st essed, e ause, as “usa L. Feagi o se ed, the shot s du aio a ha e og ii e a d afe i e esults o the audie e.494 I e plai i g he poi t of ie usi g the il St a ge tha Pa adise Ji Ja us h, she a i es at the o lusio that this stud also ega ds as highl ele a t fo assessi g possi le espo ses to slo i e a:
It is also plausi le to thi k that du aio al fa to s a i lue e afe i e espo ses di e tl , ithout p odu i g og ii e i te edia ies. Thus, o e a li k i i g ith the p odu io of feeli gs a d oods su h as ela hol , te sio a d ela aio , jo ful ess o ell- ei g, a iet o o edo , hi h do ot e ui e a og ii e sou e o o po e t fo ei g the ps hologi al state the a e.495
I ost slo i e a e a ples e talk of e e te si e lo g takes, ut the app oa h to the ju p ut as e e pliied i Blissfully Yours ea hes a si ila efe t as the e a ple of the lo g takes i Good e, D ago I . Feagi s posiio helps to e la ge the possi le s ope of ea io s to a il – the a e ot o l og ii e, a d the du aio of the i age o episode ith i o ha ges is of o se ue e here. Of ost i te est is the efe t that du aio al shots/episodes ith a lo de sit of e oio al i fo aio ha e o the ie e . F o the poi t of ie of ethodolog this poses a i p eg a le p o le – although the il s desig a d a ai e app oa h a e des i ed, the audie e s ea io s i slo i e a ases a e ha de to t a e. Je s Ede as uoted
492 Greg M. Smith Film Structure and the Emotion System, Cambridge, 2003, p. 55-56. 493 More on this issue see the chapter about statistical style analysis. 494 Susan L. Feagin Time and Timing in Carl Plantinga, Greg M. Smith (eds.) Passionate Views: Film, Cognition, and Emotion, Baltimore, 1999, p. 169. 495 Ibid., p. 177. II. Case Studies - 5. Blissfully Yours 142 stai g that ostl the li ki g et ee the il i st u tu es a d the afe i e ea io s the p odu e ill e, a o gst othe s, of loose a d p o a ilisi ate . Feagi see s to follo a si ila li e of a gu e t stai g that Ou ps hologi al o a ula fo ide if i g a d i di iduai g afe i e espo ses that a e ot e oio s is, u fo tu atel , oefull i ade uate a d u s ste ai . 496 Thus the o te io i ega ds to hat efe ts the at osphe e-lade episodes in Blissfully Yours eate. “o fa e ha e lea ed that oth e oio s a d oods are present in Blissfully Yours. As Pla i ga o ludes, ualiies of fo a ield auto ai odil espo ses, he eas e oio s a e a o pa ied a ious odil efe ts.497 ‘el i g o pe so al e pe ie e, e a e p ess the o te io that o e of the odil afe ts possi le du i g the il ie i g is i e sio i to the i age. A efe e e to i e sio ight see like a fa -fet hed h pothesis, ut o l if e asso iate i e sio ith solel D, V‘ o ° i e a, o o pute -ga es. As ill e sho elo , i e sio is a e e pa da le o ept hi h a a d has to e adapted to the eeds of slo i e a. Ho e e , a esea he i esigai g a li kage et ee the du aio , at osphe e/ ood a d i e sio , ould fa e a othe dii ult . Na el , as G eg M. “ ith so poei all put it, Fil s do ot ake people feel. .. Fil s ofe i itaio s to feel. Thus, the il a ot fo e ou to do so ethi g – to feel i a pa i ula a – it a o l ofe the possi ilit . Also, i the ase of i e sio i to a slo il , it is o l a suggesio . The e t su hapte sta ts ith a o e ie of the t adiio al u de sta di g of i e sio , ut e ds ith the de elop e t of a e app oa h suited fo this ase e a ple.
. . T pes of i ersio
I i e a studies this o ept has ee at the e t e of i te est fo o l so e itee ea s – p io to that the oio of i e sio as used as a g a ted atego . ‘e e ed i te est i i e sio is o e ted to the aise of i tual ealit V‘ a d ga es studies.
The i st ajo p o le is the dei iio of hat i e sio is. Ma ie-Lau e ‘ a e plai s that i e sio see s to e a self-e pla ato o ept, it just takes pla e499 and precisely this a i ipates the p o le . Othe s ii g a out i e sio a e o f o ted ith this p o le as ell. I e sio is a haz o ept – the efo e the e a e se e al dei iio s possi le.
Ma ie-Lau e ‘ a , i ii g a out i e sio i lite atu e, e plai s this phe o e o i the follo i g a :
496 Susan L. Feagin Time and Timing in Carl Plantinga, Greg M. Smith (eds.) Passionate Views: Film, Cognition, and Emotion, Baltimore, 1999, p. 177. 497 Carl Plantinga Art Moods and Human Moods in Narrative Cinema in New Literary History, Vol. 43, Nr. 3, Summer 2012, p. 466. 498 Greg M. Smith Film Structure and the Emotion System, Cambridge, 2003, p.12. 499 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003 p. 11. II. Case Studies - 5. Blissfully Yours 143
Fo a te t to e i e si e, […] it ust eate a spa e to hi h the eade , spe tato , o use a elate, a d it ust populate this spa e ith i di iduated o je ts. It ust, i othe o lds, o st u t the sei g fo a pote ial a ai e a io , e e th ough it a la k the te po al e te sio to de elop this a io i to a plot. This fu da e tall i ei o ept of i e sio e ai s faithful to the V‘ e pe ie e [...].500
Although ‘ a e io s the spe tato i o de to ake he dei iio suited fo i e sio i isual ultu e, e a ot take this o ept fo g a ted e ause the e is a o thologi al dife e e et ee lite atu e a d all isual i fo aio i ludi g i e a o V‘.
Ge a a t histo ia Oli e G au su a izes his posiio o i e sio i a a ete suited fo isual i fo aio :
I i tuelle ‘au – histo is h ie aktuell – i kt die Illusio auf z ei E e e : Ih e klassis he Fu kio , die spiele is h- e usste Hi ga e a de “ hei – de ästheis he Ge uss de Illusio – ka du h ei e I te si ie u g ildli he Wi ku gs itel gesteige t e de u d zu ei e Ü e äligu g de ‘ealitäts ah eh u g füh e . Dazu gehö t e e Mitel des Illusio is us i s eso de e das de Gesi hts i kel ögli hst ollstä dig ausfülle de Bildfo at u d die A sp a he ögli hst iele a de e “i e. Die hie du h ögli he “uggesio , die de Bet a hte ge isse aße i de Bild au ei tau he lässt, e ag die “u jekt-O jekt-Beziehu g fü ei e ge isse )eit au aus de A gel zu he e u d de `Als-O ` i Be usstsei Ko se ue z zu e s hafe . Diese si li he u d ezepi e Ve i du g zu Bild soll hie als `I e sio ` ezei h et e de .501
G au is speaki g of a u h st o ge odus of i e sio tha ‘ a fo lite atu e. The o pa iso et ee these t o dei iio s suggests that the e a e dife e t g ades of i e sio , ea h suited to e e ode of a t – eithe lite al o isual. But i the eal of isual a ts e should also disi guish et ee i e sio i V‘, i e sio i lassi al Holl ood il s, a d i il s o tai i g slo a aio . What i gs all these dife e t dei iio s of i e sio to a o o de o i ato is the e ui e e t fo i e si e a t o k to eate the feeli g of ei g so e he e else, a pla e apa t f o the o ld, a d this ode of spe tato ship should foste odil pa i ipaio i the ie e du i g the e epio p o ess of the a t o k.502
O iousl , e eed a dei iio of i e sio hi h takes i to a ou t dife e t i u sta es i hi h this phe o e o a o u .
Ma ie- Lau e ‘ a app oa hes this dis ussio i a o e ei ed fashio , as she disi guishes et ee th ee odes of i e sio :
500 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003, p. 14-15. 501 Oliver Grau Virtuelle Kunst in Geschichte und in Gegenwart, Raimer, 2001, p. 23-24 502 Alison Grifiths Shivers down Your Spine. Cinema, Museums, and the Immersive View, New York, Chichester, West Sussex, 2008, p. 2 II. Case Studies - 5. Blissfully Yours 144 [...] th ee fo s of i ol e e t ith a ai es: spaial i e sio , the espo se to sei g; te po al i e sio , the espo se to plot; a d e oio al i e sio , the response to character.503
“u h dife e iaio is highl p odu i e if applied to slo i e a, e ause it ot o l foste s ou u de sta di g of i e sio , ut also poi ts to dife e t fo s of i e sio . Follo i g ‘ a s dei iio that spaial i e sio ep ese ts a espo se to sei g, the ghost ides i Blissfully Yours dese e spe ial ate io p io to o i g o to the issue of hapi i e a as a othe fo of i ol e e t ith sei g.
The se o d su hapte po de s the issue of e oio al i e sio . As poi ted out ea lie , p ope e oio al o ds a ot e esta lished ith ha a te s i slo i e a as the a e ote f ag e ted ith o dis e i le oi aio fo thei deeds. Thus, the dei iio of e oio al i e sio fo the slo il i e ai e pe ie e has to e estated.
Te po al i e sio , as ‘ a u de li es, alls i to uesio the topi of suspe se hi h, as ith a t adiio al oio s, has to e edei ed if applied to slo i e a, a d this ill e do e i due ou se i the losi g su hapte .
. . a) Spaial i ersio
U like i lite atu e, he e the i agi ai e sei g has to e o st u ted the skilful la guage of the ite a d the i agi aio of the eade , the isual i fo aio is al ead p ese t i a pi tu e o a i e ai shot. I il , spaial i e sio is o ious. Ho e e , this stud a ts to poi t out a spe ial ase – the pha to ides – that d a the ie e e e o e i to the sei g. I Blissfully Yours e e ou te t o su h episodes t o jou e s i a a ith the a e a posiio ed ehi d the a du i g lo g st et hes . I te esi gl , Tai a ese il ake Hou Hsiou-Hsie , ho a e ega ded as a fo e u e of the slo i e a o e e t of the 21st century504, has ade su h pha to ides his t ade a k.
I o te po a i e a the ai fu io of pha to ides is to eate so ai efe ts i the audie e. ‘esea h has sho that og iio is espe iall se sii e to the ki ei s of i e ai i ages.505 But su h takes a also e put i to the o te t of i e a histo , he e the elo g to pha to - ides hi h e e e popula du i g the ea l ea s of i e a. “u h takes gi e the audie e the feeli g that the a e i e sed i this othe ealit .506 To Gu i g, i his
503 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003 p. 121. 504 Close analysis of the aesthetic strategies employed by Hou Hsiou Hsien can be found in David Bordwell Figures Traced in Light: On Cinematic Staging, Berkeley, 2005 and Charles R. Warner Smoke Gets in Your Eyes: Hou Hsiou Hsien´s Optics of Ephemerality in Senses of Cinema, Issue 39, 2006, available at http:// sensesofcinema.com/2006/spotlight-on-hou-hsiao-hsien/hou_optics_ephemerality/ (accessed 10.07.2014). 505 Robin Curtis Immersion und Einfühlung: Zwischen Repräsentationalität und Materialität bewegter Bilder in montage av 17/2/2008 , p. 98. 506 Erkki Huhtamo Unterwegs in der Kapsel: Simulatoren und das Bedürfnis nach totaler Immersion in montage av 17/2/2008, p. 53. II. Case Studies - 5. Blissfully Yours 145 autho itai e o epio of the i e a of at a io s, elates these pha to ides to the at a io s that sho ked the audie e du i g the ea l ea s of i e a.507 But i sile t i e a, as opposed to o te po a i e a, su h shots e e e sho t; the lasted fo a i ute at ost. To a al se audie es ea io s o e has to take i to a ou t the du aio of su h shots, he e othi g happe s. The , e o d the efe ts, e ould also talk a out the istakes of the il ake s. If su h s e es last fo a e lo g i e the ou thoughts a ot o l fo a alte ai e a ai e, ut e a also feel to tu ed i ou seats a d lea e efo e the il e ds. Ho e e , i Blissfully Yours these pha to ides a e the ost i ol i g shots of the hole il . If le gthie episode as the lo -jo apa t f o the o eu isi pleasu es it eates , hi h is il ed i a lo g, stai shot, a p o pt o edo i the ie e , the shots ith steadil ha gi g s e e that ofe o e a d o e e ie s i ite the audie e to e immerse in them.
Ho e e , spaial i e sio also ofe s a othe path of ho to t to as i e ele a e to su h i e ai e pe ie es. Na el , ou e gage e t ith the su fa e of the i age is a e i de of the o ept of hapi i e a as de eloped Lau a Ma ks. “he t a es the te hapi a k to Aloïs ‘iegel a d Wilhel Wö i ge , ho used it at the egi i g of the th century. The term e e ges agai i Deleuze a d Guata is A Thousa d Plateaus: Capitalis a d S hizoph e ia in o e io to the oio of s ooth spa e – a spa e that ust e o ed th ough o sta t efe e e to the i ediate e i o e t, as he a igai g a e pa se of s o o sa d.
Appl i g the te to il , Ma ks dei es hapi i e a i its st i t se se as follo s: Hapi i ites a look that o es o the su fa e pla e of the s ee fo so e i e efo e the ie e ealizes hat she o he is eholdi g. “u h i ages esol e i to igu aio o l g aduall , if at all.509
Ma ks oi s su h i ages ith the oio of ski – e ause su h u dei ed i ages ofe o ues as to hat o ho e a e looki g at – e e pe ie e o l the su fa e, i.e., the ski of the il .510
“he goes o e plai i g that: Hapi pe epio p i ileges the ate ial p ese e of the i age. D a i g f o othe fo s of se se e pe ie e, p i a il tou h a d ki aesthei , hapi isualit i ol es the od o e tha is the ase ith opi al isualit . Tou h is a se se lo ated o the su fa e of the od : thi ki g of i e a as hapi is o l o e step to a d o side i g the a s i e a appeals to the od as a hole.511
507 Ibid., p. 54. 508 Laura Marks Touch: Sensuous Theory and Multisensory Media, Minneapolis, 2002, p. XII. 509 Laura Marks The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Durham, 1999, p. 162 – 163. 510 Jennifer M. Barker The Tactile Eye. Touch and the Cinematic Experience, Berkeley, 2009. 511 Laura Marks The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses, Durham, 1999, p. 162 – 162. II. Case Studies - 5. Blissfully Yours 146 Othe efe ts that e a le hapi i ages a e i e ai te h i ues su h as opi al p i i g, sola izaio , a d s at hi g the e ulsio , ha ges i fo us, g ai i ess a d the efe ts of u de - a d o e e posu e.512 Ho e e , these efe ts a e ot u de o side aio i Ma ks o ept.
I this stud s opi io , the ii al eak ess of he o ept of hapi i e a is that she sees hapi ualiies o l i lu ed, u lea i ages. We as spe tato s a e odil i p essed ot o l su h i ages, ut also th ough othe i e ai te h i ues, so the oio of hapi i e a should e e pa ded. To i d, o e a i d hapi ualiies ot o l i lea i e ai i ages opi al isualit , as pe Ma ks , hi h puts the e phasis o the isual sple dou – although the e a e dife e t deg ee of isual sple dou –, ut also i i ages that aptu e su -illed, g ee t eetops i the ju gle o slo l lo i g i e ate as it is i Blissfull You s. The de isi e fa to he e of hethe the hapi ualiies of the shot a e fo e-g ou ded o the a ai e de elop e t takes a o e ha d, lies i the du aio of the i age. As G eg M. “ ith i a othe o te t e a ked, the te po al u foldi g of the il i si ulus is u ial to the a it appeals to the s ste as a hole.513 I ould p opose to o side that i ase of slo il s the ode of the il is o sta tl ha gi g et ee dife e t deg ees of a ai it a d dife e t deg ees of a ai e. A u ial ole he e pla s the du aio of the shot - i e t e el le gh takes he e othi g happe s hapi ualiies of the i age itself take o e ha d.
Ge a il theo ei ia s Ge t ud Ko h a d Ch isia e Voss ho ha e ite a out the ate ialit of the il i i age a k o ledge that: … egi t si h i de eue e Fil theo ie ei e Te de z dahi gehe d a zuzei h e , so et as ie die Eige ästheik de au h ki eis h-takile Mate ialität o Fil he o zuhe e , die je seits sei es i eis he Ve öge s liegt. Wede Ko espo de z o h ‘efe e z zähle fü das, as Fil i sei e E fah a keit auszei h et. Viel eh i d Ki o zu eh e d als ei e i tuelle Wi kli hkeit eige e ‘e hts et a htet, die u se e si li he ‘eakio e ede suspe die t o h a ipulie t, so de i s eige e ‘e ht setzt.514
This idea a out the spe ii ate ialit of the il i i age, hi h suspe ds its i ei ualiies, ea s a fu the de elop e t stage of the o ept of hapi i e a. Be ause o e speak ot o l of lu ed i ages, ut also of the ate ialit of all il i i ages. A d the hapi ualiies of the i age ha e to e see ithi the f a e o k of the so alled tu to the od that has uled si e the id- s. Ho e e , it also has o se ue es fo the ethodolog of i e ai esea h.
Vi ia “o ha k, ho i he g ou d eaki g ook The Add ess of the E e incorporated the odil e pe ie e a k i to the ield of il studies, i sists o des i i g the i e ai e pe ie e, usi g auto iog aphi al a d/o a e dotal e pe ie e, e ause g ou di g oade
512 Ibid., p. 172-173. 513 Greg M. Smith Film Structure and the Emotion System, Cambridge, 2003, p. 11. 514 Gertrud Koch, Christiane Voss ... Kraft der Illusion in Gertrud Koch, Christiane Voss (eds.) ... Kraft der Illusion, Munich, 2006, p. 9. II. Case Studies - 5. Blissfully Yours 147 so ial lai s i auto iog aphi al a d a e dotal e pe ie e is ot e el a fuzz a d su je i e su situte fo igo ous a d o je i e a al sis ut pu posefull p o ides the phe o e ologi al – a d e odied – p e ises fo a o e p o essual, e pa si e, a d eso a t ate ialist logi th ough hi h e, as su je ts, a u de sta d a d pe haps guide hat passes as ou o je i e histo i al a d ultu al e iste e. 515 Des i i g this ethod as thi k des ipio 516, she tu s agai st the o e t adiio al use of etapho s as the usual tool i des i i g the bodily experience of cinema.
The se o d ost p o i e t autho deali g ith odil ea io s i i e a, Lau a Ma ks, add esses the uesio of ethodolog . I he i st ook o the su je t The Ski of the Fil : I te ultu al Ci e a, E odi e t, a d the Se ses , he e she dei ed the te hapi i e a , she e plai ed it i a la guage a d st le o o to a ade ia, ut she ha ged he ii g st le fo he se o d ook Tou h: Se suous Theo a d Mulise so Media (2002). The easo as, as she states, the p o le of t a slaio of audio isual e pe ie es i to o ds. 517 I o de to gi e a p ope i p essio of the a t o k, the ii has to ha ge ot o l his ethod, ut also his aitude, she sa s. Tu i g a a f o the dista ed posiio of a ool- headed ii , Ma ks akes use of hapi ii is , hi h t ies to p ese e a t a e of the et ess of the e ou te .
The o el app oa h to il s hola ship usi g ideo essa as a tool of il a al sis a e ega ded as a lo g-a aited li e aio of i e a studies. - It is u h easie to talk a out o i g i ages usi g the il fo at. But to i d, the uesio sill e ai s hethe all thetheo ei al o side aio s a out a e tai topi a e t a slated i to i ages of a audio- isual essa .
. . ) E oio al i ersio
I the a o e uotaio , ‘ a li ked the e oio al i e sio to the ha a te . As poi ted to i the su hapte a out oods i i e a, t adiio all i the i e a studies the ie e s e oio al i ol e e t ith the sto is uilt o ha a te de elop e t th oughout the il . Ho e e , as u de li ed a o e, this sta e poses a p o le fo slo i e a he e ha a te s la k the t pi al o situio so ha a te isi to ai st ea p otago ists lea goals, oi aio fo deeds, et . . Follo i g this t ai of thought it e o es o ious that i the ase ofi e sio e a ot dei e the e oio al i ol e e t the ie e is e posed to o l ith the help of the ha a te s. The efo e, the su e he ei i t odu ed the oods- ue app oa h. Tosu it up, this sta e allo s fo i o po ai g all of the dife e t aspe ts of a a t o k i to thespe tato s e pe ie e that a e ot di e tl o e ted to a ha a te s a io s, ut that a
515 Vivian Sobchack Carnal Thoughts: Embodiment and Moving Image Culture, Berkeley, 2004, p. 6. 516 Ibid., p. 5. 517 Laura Marks Touch: Sensuous Theory and Multisensory Media, Minneapolis, 2002, p. IX. 518 Ibid., p. X. II. Case Studies - 5. Blissfully Yours 148 o t i ute o side a l to ou spe tato ial e pe ie e. A si ila o e to a ds the i lusio of the ualiies hi h su pass the t adiio al ha a te -audie e elaio ship has ee ade Ge a il s hola ‘o i Cu is i dei i g i e sio i to il . “he ii izes the t adiio al ie o i e sio , so o o i edia studies, that a i e ita le e ui e e t fo this fa ult a e app op iate te h i al ea s eai g a -deg ee illusio , fo e a ple.519 Cu is e ou ages lea i g this appa atus- e t ed app oa h ehi d a d suggests ega di g i e sio as i stead a efe t ge e ated t o e ual fo es. The i st is ou a ilit to o i e dife e t se so odaliies of pe epio du i g the e ou te ith a a t o k. The se o d fo e is ou a ilit fo e path Ei fühlu g .520 “u h a dei iio of i e sio leads to a o pletel e u de sta di g of this phe o e o . Cu is e pli aio of the o se ue es is ell o th uoi g he e at le gth:
I diese “i e ist die I e sio e e i ht auss hließli h als Efekt de speziis he Eige s hate de Wah eh u g ode ledigli h als Wah eh u gstäus hu g zu fasse . Viel eh ist I e sio als ästheis he Efekt zu es h ie e , de ge ade du h die Ve le e digu gsi pulse de Ei fühlu g zu ielfälige Mögli hkeite de I ol ie u g A lass gi t – u d das au h je seits ei e atu alisis he A ildst ategie. Es liegt soga ahe zu de ke , dass I e sio u d Ei fühlu g so si e a dt si d, dass sie als s o et a htet e de kö e .521
A e essa poi t fo efe e e fo e uai g i e sio ith e path fo Cu is is Ge a philosophe Theodo Lipps – , ho dife e t autho s i i e a studies t adiio all uote i o de to e plai the e path hi h the audie e feels to a d a il s p otago ists. Ho e e , Cu is poi ts to the ua e that Lipps u de sta di g of e path is u h oade . Na el , he suggests that i a i ate o je ts su h as olou s, dife e t fo s, oods a d spa es a i oke e path . Lipps dei es this state as a e pe ie e of italit of the self, hi h is a i he e t featu e of e e o je t of the o ld.522 Thus, Cu is o ludes, du i g e path e a e ot p eo upied ith the o je i e ualiies of the o ld, iel eh ist a it de Cha akte isike des eige e lei li he E gage e ts it de O jekte es hätigt, ku z: it de “e saio e , Aki itäte u d “i u ge , die du h diese Bes hätigu g e tstehe . 523
This state e t i du es a etu to the issue of a esi g i age, hi h as i t odu ed i the chapter about Good e, D ago I . A a esi g i age is a shot hi h e e utes i te se se sual efe t o the ie e a d is di o ed f o its a ai e fu io . The e this o ept as edei ed appl i g it to i ages hi h displa i te se pe eptual o e ts, a d thus go e o d the usual i itaio to i te p etaio as the o plusult a soluio fo deali g ith
519 Robin Curtis Immersion und Einfühlung: Zwischen Repräsentationalität und Materialität bewegter Bilder in montage av 17/2/2008 , p. 92. 520 Ibid.,, p. 97. 521 Robin Curtis Immersion und Einfühlung: Zwischen Repräsentationalität und Materialität bewegter Bilder in montage av 17/2/2008 , p. 97. 522 Ibid., p. 99. 523 Ibid., p. 100. II. Case Studies - 5. Blissfully Yours 149 a i age. At this poi t e a go a step fu the lai i g that the e pe ie e i ol ed i deali g ith a esi g i ages a e alled i e sio . Dife e t shots i Blissfully Yours possess su h a i te se po e that e a as i e to the ualiies of a esi g i ages, thus leadi g the ie e to e gage ith e oio s, oods a d othe afe i e ea io s, a d all this process immersion.
5.7. c) Temporal immersion
‘ a allies the te te po al i e sio ith the te suspe se – the eade s ish to k o the e di g of the sto at the e d of a ai e i e.524 “uspe se is a othe o tested issue i o e io to slo i e a, ut a de ial of suspe se i o e io to this i e ai o e e t a a ise o l if e o k ith the t adiio al dei iio . It o es as o su p ise that the oio of suspe se is usuall oi ed ith a io -lade popula ge es. As the edito s of the a o i al o k o this issue – Suspe se: Co eptualizaio s, Theo ei al A al sis, a d E pi i al E plo aio s – ightl e a k i the p efa e of the ook, this topi a e app oa hed f o t o dife e t pe spe i es. Eithe e a al se the a ai e desig of the a t o k taki g i to a ou t the u e tai t of the a ai e out o e – the da ge fo the p otago ist a d the pla of the i e dela – o e o e t ate o the og ii e a i iies of the ie e s, thei e pe taio s a d e oio s.525 “u el , oth aspe ts a e i po ta t i o de to full g asp this phe o e o . Ho e e , ate a al si g se e al slo i e a il s, this stud da es to lai that i this t pe of a t il suspe se is ge e ated o e th ough the og ii e pla of the ie e ; less de isi e a e the e ui e e ts fo suspe se al ead uilt i to the a ai e te t. Fo e a ple, the shee li ea it of the a ai es i these il s al ead pe dei iio es he s the possi ilit of i e pla s o at least di i ishes thei i po ta e. “lo a aio il s ote sho a se se of li d p og ess 526, that, a o di g to ‘ a , is the iggest e e of suspe se.
A othe poi t that has to e ade o e s the a ge of possi iliies a out the possi le de elop e ts a d out o e of the a ai es i the il s i uesio . As Heta P hö e has stated e o isel : The i te sit of suspe se is i e sel p opo io al to the a ge of possi iliies. 527 Ho e e , the plot st u tu es of slo il s la k the i te sit of suspe se, hi h a e eated deli ii g the a ge of possi iliies fo the ha a te s. The a iet of oi es is losel ied to the e e ts e pe ie ed the ha a te of the il , the desi es a d pla s the ha e a d the goals the pu sue, a d it e a les the audie e s a ilit to e isio possi le
524 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003 p. 140. 525 Peter Vorderer, Hans Jürgen Wulff, Mike Friedrichsen (eds.) Suspense: Conceptualizations, Theoretical Analysis, and Empirical Explorations, Mahwah, 1996, p. VII. 526 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003 p. 145. 527 Heta Pyrhönen Suspense and Surprise in David Herman, Manfred Jahn, and Marie-Laure Ryan (eds.) Routledge Encyclopedia of Narrative Theory, 2005, p. 578. II. Case Studies - 5. Blissfully Yours 150 sto de elop e ts. As as st essed agai a d agai , i the slo i e a e a ples he ei the ha a te s goals ostl e ai u lea , o the see to d op the pla s the had i iiall . Thus, e a ot li k the suspe se i slo i e a di e tl to the goals of the ha a te s. Fo the dei iio of suspe se i this t pe of il the e pe taio s of the ie e a e edu ed to a si ple uesio What happe s e t? Blissfully Yours is a pa i ula l good e a ple. As e e pliied a o e, the p o le s ith hi h the sto egi s Mi eeds a health e ii ate a d has a te i le ski ash; O i es a ste ious ski ea , et . a e a a do ed at so e poi t. Ho e e , e e ai i te ested i hat happe s e t e ause the ha a te s al ost o sta tl o e fo a ds jou e s i a s, alks th ough the ju gle , hi h ause us to a i ipate that th ough this o sta t ha ge of s e e a d a i iies “OMETHING ill i e ita l happe . A d ás Báli Ko á s e e akes a lai that the d a atu gi al ke that akes slo a ai es a epta le is suspe se. Fo his u de sta di g of suspe se, it is of o i po ta e ho slo l the plot de elops o the i sig ii a e of o s ee e e ts. The a i ipaio eated i the audie e that so ethi g i po ta t is goi g to happe is u ial, a d fo that he akes the du aio al shots ith slo a e a oio a ou ta le.529
Da id Bo d ell has pi ked up this topi i a log e t a out a t-house suspe se. His e t al poi t is that suspe se is a fu da e tal esou e of all sto telli g. Ho e e , if suspe se is do pla ed i a il su h as i a ious a t-house il s, e ote e ei e the shee su essi e ess of thi gs .530 I ases of shee o se ui e ess of e e ts the task of the il ake e o es to stage the sto i su h a a that it a sill a ouse i te est i the audie e. The possi iliies at ha d ould e a eful f a i g, e o ai e sou d a d isp a ai e te h i ue. I te esi gl e ough, Ge a il ps hologist Pete Wuss, i ii g a out suspe se i the il s of Mi hela gelo A to io i ho a e ega ded as o e of the fo e u e s of slo i e a , poi ts to the fa t that he e e e ou te o l te sio i stead of suspe se, this a du io esults i so ethi g else , a d i this ase o e e phasis is put o the a al i al di e sio i the pe epio p o ess.531 Fu the o e, Wuss p oposed that suspe se, as he u de sta ds it, is al a s li ked to e oio s, ut ith te sio this is ot the ase.532 Wuss deli eates the o de et ee suspe se a d te sio the a ou t of i fo aio the p otago ists ha e a out the situaio . Na el , the o diio s fo te sio a e the a i ipaio of ele a t ote e a i g e e ts, a d the p i ipal ha a te s a ilit to p e e t a egai e out o e of the e e ts. Ho e e , i o de fo te sio to a hie e a ualit of suspe se, the ie e has to ha e
528 Heta Pyrhönen Suspense and Surprise in David Herman, Manfred Jahn, and Marie-Laure Ryan (eds.) Routledge Encyclopedia of Narrative Theory, 2005, p. 578. 529 András Bálint Kovács The Cinema of Béla Tarr: the Circle closes, London, 2013, p. 115-116. 530 David Bordwell Arthouse suspense, in big and small doses in Davird Bordwell Observations on ilm art, April 11, 2011: http://www.davidbordwell.net/blog/2011/04/11/arthouse-suspense-in-big-and-small-doses/ (Accessed 23.04.2014). 531 Peter Wuss Narrative Tension in Antonioni in Peter Vorderer, Hans Jürgen Wulff, Mike Friedrichsen (eds.) Suspense: Conceptualizations, Theoretical Analysis, and Empirical Explorations, Mahwah, 1996, p. 63. 532 Peter Wuss Narrative Tension in Antonioni in Peter Vorderer, Hans Jürgen Wulff, Mike Friedrichsen (eds.) Suspense: Conceptualizations, Theoretical Analysis, and Empirical Explorations, Mahwah, 1996, p. 53. II. Case Studies - 5. Blissfully Yours 151 o e i fo aio a out the situaio a o ei g pla ed u de a ta le, fo e a ple tha the p otago ist does.533
‘etu i g to Blissfully Yours as a ase e a ple ith this dei iio of suspe se i i d, this stud asse ts ith o su p ise that i slo i e a e e ou te o e of the th ee o diio s de a ded Wuss. Neithe fo te sio , o fo suspe se. As afo e e io ed, e a e let solel ith ou i te est i hat happe s e t. Thus, pe haps i te est ould e the p ope dei iio fo suspe se i slo i e a.
Fi all , tu i g to a othe atego of suspe se hi h ‘ a i gs i to pla – etasuspe se. It is the ii al i ol e e t ith a sto o , i this ase, il . I this t pe of suspe se the spe tato fo uses his ate io ot o the plot itself ut o ho the autho /il ake is goi g to le d all the st a ds of the sto togethe .534 As the ai audie e of slo i e a is a i e a-edu ated o e, the supposiio is that etasuspe se pla s a e i po ta t ole i the e epio of these il s. Ho e e , e a ot speak o l of sto i te s of these il s, ut the hole a isi desig of the il a ui es a e epio all huge i po ta e fo the ie e . Bo d ell add esses this topi i a o e ei ed a e , stai g that hat o es i stead of suspe se o a la ge s ale is suspe se o i o-le els – a oss pa i ula s e es o e e o the le el of a si gle shot. The al ead u h- e io ed s i i g episode i Blissfully Yours is an e a ple of suspe se o a episode le el. But, the shot i The Tu i Ho se he e the a iage ith Ohlsdo fe a d his daughte eappea s i the shot so e i utes ate it had disappea ed ehi d the ho izo , a ui es suspe se p e isel e ause of the te sio , a d o se ue tl the e pe taio s a e pt du aio al shot a e oke i a e pe ie ed ie e . I all these ases, ega dless of s ale, the ost i po ta t uesio fo the ie e of slo i e a is: What o es e t?
He e e a i e at a o e ge e al a d i po ta t aspe t of suspe se. Na el , the uesio of hethe the a i iies slo i e a ie e s a e e gaged i a e ete la elled as passi e o e gaged o oth. This e tu i this a al sis of slo i e a is p e eded a dis ussio i lite atu e studies a out the atu e of h pe te ts. As Yello lees Douglas, the a k o ledged esea he o h pe te t ai tai s i a a i le pu lished togethe ith olleague A d e Ha gado :
A o di g to ost ii s, the pleasu es of i te a i g ith a ai es, like the eadi g audie es ho o su e the , a e o olithi e iies. Te ts a e eithe i e si e o e gagi g. Th ille s, este s, a d ste ies i e se us i thei ha a te s a d plots, aki g us te po a il o li ious of the o ld a ou d us. Te ts dii ult ite s e gage us halle gi g a d su e i g ou s he as, e i di g us of ou ole as
533 Ibid., p. 52. 534 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003 p. 145. II. Case Studies - 5. Blissfully Yours 152 eade s a d se se ake s.535
I i e a studies e also disi guish et ee high a d lo ultu e, u de sta di g ai st ea Holl ood i e a as elo gi g to the lo e le el a d slo il s elo gi g to the fa e d of the uppe le el a d dii ult ge e, it see s jusiied to po de this issue a litle it o e.
‘ a , i he ook o i e sio , also a k o ledges that etasuspe se a tuall does ot elo g to suspe se, ut a i ipates i te a i it .536 Yet, as Douglas a d Ha gado , el i g o the s he a theo , poi t out, ou i e sio i to a sto is o e easil e a led the ge e i io tha dii ult te ts, ut the e gage e t ith a te t is fou ded i ou a ilit to e og ize the u i ue o u p edi ta le ele e ts a d disi guish u usual ele e ts i the ise-e -s è e.537 Both autho s a k o ledge that highl i e si e te ts a i ol e e gage e t a d i e e sa. The ofe lo -theo , as de eloped the a k o ledged A e i a -Hu ga ia ps hologist Mihal Csiksze t ihal i, as a odel to help g asp this phe o e o . The oi ate thei hoi e of o ept ith the a gu e t that lo d a s o the ha a te isi s of oth phe o e a – that of i e sio a d that of e gage e t. B usi g fa ilia s he as of ge es, ite s foste lo states, e ause the afe i e e pe ie es a e losel li ked to the e pe taio s of the ie e / eade . B aki g the a ai e t aje to u p edi ta le, thus i ii g eade s to ake thei o de isio s a out the fu the de elop e t of the h pe te t, the eade is e gaged i to i te a i it . This pa ado of highl st u tu ed o te t i the fo of ge es a d elai e f eedo of hoi e is e t al to e pe ie i g lo .
The topi of lo -like e pe ie e i slo i e a should e de eloped fu the , ut he e it ould e eed the s ope of this stud . Thus, the e a e so e p eli i a assu pio s that ould dese e fu the o side aio s i a othe f a e o k.
Csiksze t ihal i lists te o po e ts fo lo , ut he also ad its that ot all of the ha e to e p ese t i o de to e pe ie e this state. If all te e ui e e ts a e p ese t, the e a speak of a o-lo , ut if o l so e of the a e ide iied, the it ill e state of i o- lo . Du i g se e al poi ts i this disse taio the s ala atu e of dife e t phe o e a ega di g slo i e a as e io ed, a d the ase of lo ill e o e epio .
Blissfully Yours ofe s a ase he e, as the e e ts i the plot a e edu ed to a i i u a d the
535 Yellowlees Douglas, Andrew Hargadon The Pleasure Principle: Immersion, Engagement, Flow in Proceedings of the 2000 International Hypertext Conference, New York, p. 155, available at http://ftp.cse. buffalo.edu/users/azhang/disc/disc01/cd1/out/papers/hypertext/p153-douglas.pdf (Accessed 13.04.2014). 536 Ryan, Marie-Laure Narrative as Virtual Reality: Immersion and Interactivity in Literature and Electronic Media, Baltimore, 2003 p. 145. 537 Yellowlees Douglas, Andrew Hargadon The Pleasure Principle: Immersion, Engagement, Flow in Proceedings of the 2000 International Hypertext Conference, New York, p. 155, available at http://ftp.cse. buffalo.edu/users/azhang/disc/disc01/cd1/out/papers/hypertext/p153-douglas.pdf (Accessed 13.04.2014). 538 Yellowlees Douglas, Andrew Hargadon The Pleasure Principle: Immersion, Engagement, Flow in Proceedings of the 2000 International Hypertext Conference, New York, p. 158, available at http://ftp.cse. buffalo.edu/users/azhang/disc/disc01/cd1/out/papers/hypertext/p153-douglas.pdf (Accessed 13.04.2014). II. Case Studies - 5. Blissfully Yours 153 fo eha d is gi e to du aio al episodes ith i p essi e at osphe i ualiies, the ie e is let o e t ai g o elishi g dife e t oods. I doi g so the a e o pletel elia t o the shot i o i aio ith the sou d s o e . Ho e e , the shot ofe s othi g fu the e ept fo the s e e depi ted i it. Thus the ie e e jo s the shot fo itself a d its su fa e – its hapi ualiies. The sto ofe s o su p ises that ould ja the ie e f o i e sio i to the at osphe e of the il . It is the a so pio i to the a i it itself that Csiksze t ihal i speaks of as o e of the e ui e e ts fo the state of lo .
The il s u p edi ta ilit is d i e the fa t that i a t-house i e a, o e tha i othe t pes of il , the ie e is i ited to e o e a i e i aki g se se of the il . But the st u tu e e essa fo the lo phe o e o to o e i to e iste e is the il s a t s he e. ‘ega dless of the le gth of the pa i ula pa ts, the hose e a ples all sho that e e il de o st ates featu es of a setup; the plot so eho de elops e e he the ause-e e t- s he a is e loose. A d, at so e poi t, the il o es to a e d ega dless of hethe the story reaches proper closure.
I o lusio – il ie e s a ot o l app e iate dife e t i e sio egi es as o i ed og ii e ps hologists, ut the a follo the plot, app e iate the etasuspe se, a d at the sa e i e del e i to the ood of the episode. As p e iousl uoted, Pla i ga u de li es the i po ta e of oods, e oio s, odil espo ses a d og iio i ge e ai g il ie i g e pe ie e. He e pli itl add esses the uesio of og iio a d ofe s e a ples that so ial- s ie e esea h deli e s p oof that afe i e a d og ii e e pe ie e a e di e tl elated, a d that oods a d e oio s o situte a s of seei g ith sig ii a t i po t. 539 Fo e a ple, oods a fu io as a gestalt o s he a th ough hi h e pe ei e the i io al o ld. Co se ue tl , i ou sea h fo ele a t ute a es i a il the ood o the s ee a t ood o the hu a ood ill afe t ou pe epio of the ele a e.
Pla i ga s lea - i ded app oa h jusiies the lai he ei that i slo i e a, ou il ie i g e pe ie e is go e ed a sea h fo ele a e. Ho e e , if ualiies su h as oods a d e oio s, a d i e sio a e deplo ed as sig ii a tl as i Blissfully Yours, the these ualiies a ot o l e jusiied “pe e &Wilso s e pla aio ega di g st le – the a ise ithi the pu suit of ele a e. “u el , the di e to s elia e o ood shots a d the de isio to use e te ded uts all a e sig s of a pa i ula pe so al st le, ut, as see f o the poi t of ie of a ie e seeki g a a s e to Wh do I ha e to at h this pa i ula il ? , the ‘ele a e theo ight ea h its li its. Ho e e , that does ot ea it as the o g theo to hoose fo this e dea ou . ‘athe , e a ot e pe t that o e theo ill e plai e e thi g.540 I spite of this, i a al zi g the o ludi g ase e a ple Colossal Youth i the e t hapte ,
539 Carl Plantinga Art Moods and Human Moods in Narrative Cinema in New Literary History, Vol. 43, Nr. 3, Summer 2012, p. 469. 540 Noél Carroll Prospects for Film Theory: A Personal Assessment in David Bordwell, Noél Carroll Post- Theory. Reconstructing Film Studies, Madison, 1996, p. 41. II. Case Studies - 5. Blissfully Yours 154 this stud ill o e agai etu to the o e asse io s of the ‘ele a e theo . As ill e de o st ated, it is a pa i ula l ell-suited ethod i e plai i g h o u i aio i slo i e a a eak do , a d the ie e ight gi e up o the il . II. Case Studies - 6. Colossal Youth 154 6. Colossal Youth (dir, Pedro Costa, Portugal, 2006)542 – hat o situtes a olossal ore ?
The guidi g light i a al zi g this e u usual il , e e ithi the o te t of slo i e a, is a e a k Pete B adsha of The Guardian o ho the E glish p ess e- a ed the il Colossal Youth – Colossal Bore!543 A d this e- a i g as do e il -edu ated ie e s – the ii s! What the is so u usual a out this il ? The des ipio of Colossal Youth o tai i g su h tags as lo g shots a d lo g sile es, ai less a d episodi a ai e ould appl to e e e a ple of slo i e a. The efo e, it is o th a lose look as to h Costa s il is so u ea a le i o pa iso to a Bela Ta o ie; ho this il dife s i st u tu e f o those of Tsai Mi g-Lia g, Lisa d o Alo so, Api hatpo g Wee sathekul o F ed Kele e , a d hat akes it so ethi g of a a it .544
G eg M. “ ith, i his o side aio of hat akes good theo i a dife e t o te t u de li es that su h a theo a o l ha e e pla ato po e if it e plai s ot o l h the il su eeds, ut also ho the il fails to ge e ate [e oio s].545 Although the e ill e e ough ie e s ead to i est a e o ous efo t i t i g to u de sta d Colossal Youth, fo this p oje t s pu poses the il ill e used as a ki d of o ludi g e a k fo the a gu e t o ho the a ai e st u tu e a d og ii e p o esses i ol ed i il o p ehe sio a ge e ate dife e t paths i seeki g ele a e i slo il s. The efo e, i this o te tColossal Youth fu io s as a ase e a ple of failed o u i aio . The task of this hapte ill e to sho ho , fo a pa t of the audie e, the il s a ai e is less efe i e i de o st ai g ele a e o a le el – of the plot o of the sto . Ho e e , just e ause a f a io of the audie e gi es up o a il , this does ot auto ai all se es as p oof of the il s a isi ualiies o la k the eof. This espo se de o st ates that the e a e dife e t, e i di idual ea io s to e e il , thus suppo i g the thesis that e e i a i e a-edu ated audie e as a g oup, the e a e ast dife e es i thei eadi ess to a ept su h a ie i g- halle ge as Colossal Youth. The hapte ope s ith a des ipio of the il . The e t su hapte o tai s the a gu e t that this il de o st ates a lea ase of s ala tella ilit , follo ed a look at the a ai e o st u io of the il a d the deg ee of a ai it i it. The – a assess e t of the ole of o te tual assu pio s i the o p ehe sio p o ess of the il s plot. The o lusio
54� ����� ����� ��� ���� �� 1�5�� �� ��������� ���� ������ ������� ��� ���� ������ �� ��� ��� �� ��� 1���� and made his irst full-length feature in 1989. Costa did the shooting for his second ilm Casa de Lava (D��� �� Earth) on the Cape Verde islands in the mid-1990s. After the end of shooting, the residents of the islands gave the ilm crew presents and letters which they delivered to their relatives living on the outskirts of Lisbon. Here Pedro Costa discovered the Fontainhas, Lisbon’s grimmest slum. With the inhabitants of the slum as actors he shot the so-called Fontainhas trilogy, of which Colossal Youth is the inal part. The other two parts are the ilms Ossos (1��7) ��� In Vanda´s Room (����)� 54� ����� �������� Pedro Costa, the Samuel Beckett of cinema �� The Guardian, 17.09.2009, available at http:// www.guardian.co.uk/ilm/ilmblog/2009/sep/17/pedro-costa-tate-retrospective (Accessed 17.04.2013). 544 ������� D����� Life, Assembled One Room at a Time in New York Times, 03.08.2007, available at http:// movies.nytimes.com/2007/08/03/movies/03colo.html?_r=0 (Accessed 17.04.2013). 545 ���� �� ����� Film Structure and the Emotion System, Cambridge, 2003, p. 8. II. Case Studies - 6. Colossal Youth 155 ill o tai a e ou se to the ‘ele a e theo , leadi g to a suggesio of ho the o te tual i fo aio , su h as the i situio al f a e o k i hi h the il is s ee ed, shapes ho e o e to te s ith su h a halle gi g il . The hapte ill e d ith a o e ge e al ote a out the idea of the Do i a t, hi h ofe s a plausi le e pla aio a out the a i hi h the audie e a ha dle the a ious hoi es fo aki g se se out of a slo il . A e a k i ega ds to the il s st u tu e: a el , as the lai ill e that i o pa iso to othe ase studies Colossal Youth is ot st u tu ed a ou d a ts, the des ipio of the il s o te t ill o tai o e as ell. Co e i g the isual st ategies of the il : it is shot o digital ideo usi g o addiio al lighi g, so the e is ote o l o e sou e of light o i g f o a i do o a doo . The ai ha a te , Ve tu a, is ostl f a ed f o a lo a gle a d Costa uses o l i ed a e a posiio s. With fe e epio s, the episodes a e shot usi g o e stai take.
. . Des ripio of the il ’s stru ture546 The il ope s ith a da ke ed i age of a house, a d so eo e Ve tu a? th o i g fu itu e f o a uppe -sto i do . Cloilde – a da k o a i he si ies – speaks i a G eek d a a-like de la ato st le a out s i i g i he outh. “he is holdi g a k ife. While she disappea s i to the da k, the lade sill shi es. Ve tu a appea s agai st a all a d shouts aloud fo Bete – he othe has let hi a d does ot lo e hi a o e. A oi e of-s ee i sists that Ve tu a is k o ki g o the o g doo , ut he is e tai a out his hoi e. While e see a ou g o a i a da k oo ashi g lothes, e hea Ve tu a si gi g outside ? . A a h i the slu s. Ve tu a g eets a a sta di g o the st eet. The sta d sill. A thi d a - Le to - joi s the , a d he a d Ve tu a lea e. We hea oi es a d slu oises fo the du aio of the shot. Le to a d Ve tu a e te a doo . Le to eats i a a el -lit oo , Ve tu a efuses to eat. He o plai s to Le to that his othe let hi ; she ut hi ith a k ife. “he s ashed all his fu itu e. Whe Le to asks ho it as, Ve tu a a s e s that the o a had the fa e of Cloilde, ut it as t he . Ve tu a sta ds up a d lea es. The e t shot egi s ith Ve tu a shoui g Va da! Whe e do ou li e? of-s ee , the he e te s the shot – a al ost a st a t i age of hite houses. Ve tu a is al a s il ed f o a lo a gle, foste i g the i p essio of a a st a t i age. Th ough se e al shots he shouts fo Va da, u il she a s e s of-s ee . I a dialogue et ee the t o e dis o e that the ga e Va da a ase e t apa t e t, a d that Ve tu a a ts a ee a d he has o e fo that. Va da s poo l lit oo . “he sits o a ed, s oki g. The at h TV, hi h e ai s outside the shot. Ve tu a asks a out he othe – hethe she slept he e last ight – Va da o e ts
4� For an easier understanding of the iilm’s lm’s description the character’s names are used from the bebeginnginninging �������� II. Case Studies - 6. Colossal Youth 156 o hat is o TV. Ve tu a lai s that she his ife took the suit ases a d let. But Va da e i ds Ve tu a that he othe is u ied at A ado a Ce ete . Ve tu a does ot ea t to this; he just o i ues to e plai that he looked all o e fo he . Va da ould like to ut a k the ethado e, she d like to ha e he daughte ith he , a d she d also like a pe sio . “he has ot e ei ed a o e fo o ths. “he d like a litle lu k, ut does ot ha e a . The o i ue to o e t o the TV. This episode i Va da s oo lasts fo i e i utes. It a ot e des i ed as p ope dialogue e ause, as it e o es lea f o the des ipio of the s e e, the t o ha a te s do ot ea t to ea h othe s state e ts. A da k hall a i Va da s apa t e t - the o l light falls o ed lo e s i a ase, ge e ai g a Ve ee -like i age ualit . Ve tu a sa s good e to his daughte , Va da a s e s ith Good e, Papa . F o se o da sou es it e o es lea that Ve tu a is t a tuall the fathe of a of the i ha ita ts of Fo tai has, he just efe s to people that a . I a da k oo , he e the o l light o es th ough a i isi le, s all i do , Ve tu a a d a othe a pla a ds. The a sa s he eeds Ve tu a to ite a lo e lete to his ife. Ve tu a egi s to e ite a poe . It goes as follo s: Nha et heu, lo e, eei g agai ill ighte ou li es fo at least ea s. I ll etu to ou e e ed a d full of st e gth. I ish I ould ofe ou iga etes, a doze fa e d esses, a a , that litle la a house ou al a s d ea ed of, a d a - e t ou uet. But ost of all d i k a otle of good i e a d thi k of e. The o k he e e e stops. The e a e a hu d ed of us o . T o da s ago, o i thda , I thought a out ou fo a lo g hile. Did lete a i e safel ? “ill o o d f o ou. I aii g. E e da , e e i ute, I lea eauiful e o ds just fo ou a d e, tailo - ade fo us oth, like i e silk paja as. I a o l se d ou o e lete a o th. “ill o o d f o ou. Ma e soo . “o ei es I get s a ed uildi g these alls, e ith a pi k a d e e t, ou ith ou sile e, pushi g ou e e deepe i to a pit of fo gei g. It hu ts to see thi gs I do t a t to see. You lo el hai slips th ough i ge s like d g ass. “o ei es I feel eak a d thi k I ll fo get. The shot lasts fo th ee i utes. Ve tu a a ake s Le to a d e ites the a o e- e io ed poe lo e lete . I the da k ess the oth fall asleep. Ve tu a sits i a a hai i the a d of the slu . A o a pou s out so e ate . Ve tu a sa s that he ought so e hi ke , ut the o a loses the doo ehi d he ithout sa i g a thi g. Ve tu a sta s outside, thi ki g, fo al ost a i ute, the lea es. The hite of e houses. A go e e t oi ial o es a d tells Ve tu a that he ill get a lat o the fou th loo . It tu s out the o e f o the sa e egio Cape Ve de . The e e te a e lat ith hite alls. Ate Ve tu a has i spe ted it, he lai s that he eeds o e ed oo s fo his hild e , ut the go e e t oi e e plai s that o hild e e e e io ed i his oi ial pape s. Agai i Va da s ed oo - a stai lo g take. I this episode, hi h lasts fo te i utes, Va da tells Ve tu a a out ho she ga e i th to he daughte a d that she has ee of the d ugs fo t o ea s. II. Case Studies - 6. Colossal Youth 157 Ve tu a pi ks up Le to at his ho e i the slu s. The e sa othi g; oises of ulldoze s a d shoui g o e a e hea d. Both e agai sit at a ta le i a poo l lit oo ith oises o i g i f o the outside. At i st the do ot o e o talk. “o eo e se es the a dish ithout sa i g a o d. Ve tu a sa s that Le to – add essi g hi as “o – should o k less ha d. The sha e food, Ve tu a asks Le to uesio s a out his fa il , ut Le to deli e s al ost o a s e s. Ve tu a lies i the da k, o the sou dt a k e hea hi e ii g the afo e e io ed lo e lete . Whe eas i the e t shot e see Ve tu a taki g a the os f o a ta le, the e itaio of the lo e lete a sill e hea d of-s ee . Of-s ee Le to e ou ages hi to hu . A sho t episode at a useu . Ve tu a sta ds et ee the pai i gs. A gua d o es a d hispe s so ethi g i his ea . Ve tu a lea es, the gua d ipes the loo ate hi . A ediu lose-up of Ve tu a that alte ates ith a ediu lose-up of the gua d. Cut to the e t shot he e e see Ve tu a sii g o a ou h i the useu . The gua d o es i sile e a d ofe s Ve tu a a ha d to get up. “o e u dei ed, poo l lit oo i the useu . The gua d lo ks a doo a d lets Ve tu a e it th ough it. No o e sa s a thi g; o l the oise of thei steps a e hea d. The a e a pa s o e the t ees, th ough the g ee e see Ve tu a o i g. I the of-s ee his oi e e ites a sto a out ho he a i ed i Po tugal i , a d ega to o k i o st u io . Ate a ut, the igu e of the gua d appea s. He talks a out his pleasa t jo at the useu a d that people like hi , a d that Ve tu a does ot elo g to this o ld. The episode lasts fo al ost fou i utes. Ve tu a e te s his ho e i the slu ith a f ie d. The shot is so da k that the t o igu es a ha dl e dis e ed. Ve tu a a d his f ie d sit at a ta le a d pla a ds. Ve tu a ho has a a dage o his head , e ites the a o e- e io ed lo e lete . Cut to a othe a e a posiio . The f ie d t ies to ite so ethi g o the ta le. Ve tu a sets do a otle of i e, the takes out a e o d pla e a d puts o a e o d. A so g pla s, the e liste . The episode lasts fo al ost te i utes. Ba k i Va da s ed oo . Va da a d he daughte sit o o e side of the ed talki g to ea h othe , hile Ve tu a sits sile t o the othe side. Ve tu a tells he that he isited his othe daughte , Bete, ea lie . “he is aii g fo he e lat. Va da tells hi a out he fea of e losed spa es. “he e ou ages he litle daughte to da e, a d piies that she ill ot e a le to aise he . Ve tu a o i ues to sit o the ed sho i g o i te est i hat Va da a d he daughte a e doi g. The episode lasts fo se e i utes. With his a k tu ed to the a e a Ve tu a si gs a so g, a d the goes th ough a doo . I a da ke ed oo Ve tu a lea s agai st a doo f a e. A o a s oi e asks hi hethe he k e that he also had a so , a d o i ues to speak a out o st u io o ke s. Cut to a di l lit shot ith Ve tu a a d a o a sii g sile tl o a ed; Ve tu a gi es he so e s uf, the oth s eeze. The shot lasts fo t o a d a half i utes. II. Case Studies - 6. Colossal Youth 15� Ve tu a sits i a ed a hai outside of his house; e hea oi es f o outside the f a e. He sta ds up, looks at so ethi g outside the f a e a d takes so e s uf, the passes slo l ehi d the a e a. Le to sits i the su i f o t of a house. Me a fu itu e out of the house. I a poo l lit oo Nhu o a d Ve tu a sta d at a ta le it is ha dl dis e i le . Nhu o ofe s it to Ve tu a, he also has a i e ed oo set. Nhu o e plai s that he has ha ged, o o e steali g o pa ki g a s. Nhu o i te ogates Ve tu a a out tea i g do the Fo tai has. Cut to a othe shot i the sa e oo , o Ve tu a sta ds e t to a la p. Nhu o o es i a d sits do e t to hi . “ho tl ate a ds – a lose-up of Nhu o, ho lo gs to e a k togethe ith his othe . “he is o ithd a al, ut Nhu o a ot o e a d see he , e ause the e is o o e ho a epla e hi at o k. “he has ee elo ated; Nhu o has to help he setle i to the e lat. This is o e of the a e a ai e episodes i the il that tells the sto of the i ha ita ts of Fo tai has ei g elo ated to the e dist i t of Casa del Bo a. It is p e isel i the iddle of the il – a ou d the th i ute of the i utes u i g i e . Nhu o also talks a out his fathe ho al a s d ea ed of etu i g to Cape Ve de. His fathe thi ks that Nhu o ill etu to Cape Ve de, ut he hi self is t su e. Nhu o sits i the da k hile Ve tu a e ites the lo e lete . We also hea Ve tu a s steps as he goes up a d do the oo . I the e t shot Ve tu a o i ues to e ite the lete a d pa e the oo . The se o d pa t of this th ee i ute shot e ai s e pt a d da k, ith o l so e otles isi le o the ta le a d Ve tu a s steps i the a kg ou d. The st i ute of the il . “tai ell of a house i Casa del Bo a. Ve tu a eets the go e e t oi e fo the se o d i e. La ge, hite oo . The oi e lists all the posii e featu es of the oo a d of the eigh o hood, hi h adds a o i to e to the episode, as Ve tu a u de li es it e e o e stai g that the hite oo is full of spide s. I the e t se ue e of lose-up shots of Ve tu a a d the oi e , the late i sists that this ill e a pe fe t ed oo fo Ve tu a a d his ife. He also adds that o o asio s su h as this ot o l the ife, ut the hole fa il is p ese t. This ep oa h adds a ki d of a t agi ote to the s e e, e ause i due ou se it e o es lea that Ve tu a has o fa il , a d that his ife has let hi . The oi e also e plai s the duies of the eside ts. The oi e states that a i e- oo apa t e t is the est the ha e, a d asks ho a hild e Ve tu a has. His a s e is I do t k o et . As the oi e lea es, Ve tu a e plo es the apa t e t. Ba k i the slu . Ve tu a sits et ee ga age. The he sta ds up a d olle ts so e pie es of pape a d sits do agai . The shot lasts fo th ee i utes. A sho t shot ith Ve tu a e te i g a stai ell. Va da s hite di i g oo . “he asks Papa Ve tu a to keep hat she has to tell hi to hi self. “he a ts to i g he daughte to Fai a. Ve tu a p o ises to o e alo g a d pa fo the t ip. Va da speaks a out ethado e. Fo the se o d i e i the il she e p esses ado aio fo he hus a d, ho e t th ough a lot ith he . He sold e e thi g so she ould ot II. Case Studies - 6. Colossal Youth 15� sufe ithout he d ugs. Va da s hus a d etu s ho e a d eats his suppe . Va da speaks a out ghosts. “he ould like to u e fu itu e. Both e sit at the ta le a d do ot see i te ested i Va da s talki g. Va da add esses Papa a d asks hat happe ed to his fu itu e at Fo tai has, he a s e s that Cloilde o a o a that looked just like he si !! s ashed it. “he also sta ed hi i the ha d. Whe Ve tu a asks Va da s hus a d hethe the a e a ied, he does ot a s e . The e sha e a apple. This episode, shot i o e stai take, lasts fo te i utes. This o e saio se es to sho that the e is o p ope dialogue i the il , o l its a d pie es of se e al the es, ha a te s do ot a s e uesio s p ope l , so o p ope dialogue is possi le . A di l lit i do i the slu . “o eo e o es i th ough the doo hi h is out of the f a e a d asts so e light o to the all. We hea Ve tu a ask hethe it is Le to, ho o es. Cut to a ha dl lit oo . Ve tu a a d so eo e else, ho is ot dis e i le i the da k, sit. Ve tu a e ites the lo e lete . A a el isi le i age ith a lighte spot f o the i do o the loo i the e apa t e t. “o eo e i gs the ell a d asks to ope the doo . The oi e o the othe side of the doo asks fo so e help. We e og ize Ve tu a l i g o the loo . He o de s hethe it is Paulo. I the e t shot e see Ve tu a a d Paulo sta di g at a i do . Ve tu a tells hi that a gu as he e aski g o e fo Paulo s fu e al, ut o the ad i e of Paulo s othe he did ot gi e hi a . Paulo tells hi a out a f ie d to ho he taught e e thi g a out eggi g, ut ho et a ed hi . The episode, il ed i o e lo g stai take, lasts fo fou i utes. I the e t shot the e sta d e t to the all. Paulo ep oa hes Ve tu a that this lat is too ig fo hi , ut Ve tu a i sists that it is fo all of the . As Paulo lea es Ve tu a tells hi that it is o use eggi g e ause e e o e he e is poo . This shot lasts fo t o i utes. The poo l lit i do i the slu agai . Ve tu a u s hest uts i the pa k. Ve tu a sits o a e h i the pa k. A da k all, e hea so eo e hii g so ethi g agai st it ? . Ve tu a sits i the slu . The oi e of a othe a a e hea d sa i g the ill eed at hes, to a o a d gas. “oldie s a e all o e e ause of a oup d état. Ve tu a states that he e t to o fessio a d the p iest asked hi hethe he e e ate a hu a lesh a othe e a ple of o - o u i ai e dialogue . The othe a sa s that Ya a as take the poli e? a d ought i to the hills a d eate . Ve tu a egs hi to lea the lo e lete , ut his pa t e t ies to o i e Ve tu a that the e is o eed got it, e ause the lete ill e e ea h Cape Ve de. The e is o o e ail se i e to Cape Ve de, e ause the all a e o st ike, the othe a sa s. The he loses the i do ith a oode plate a d ails it. Ve tu a sits i the ed a hai i f o t of his house i the slu ith a othe a sta di g e t to hi . The othe a sa s that o e o e [ o a ] is go e – Le a s daughte )ita. “he poiso ed he self. Ve tu a o e ts hi that the poiso that killed he is hat e e o e took II. Case Studies - 6. Colossal Youth 16� lo g efo e he i th. The e sta d sill a d gaze outside the f a e. A o a o es out of the house a d sta ds e t to the . The se o d a - Xa a - sa s good e a d lea es. The o a goes a k i to the house, ate a hile Ve tu a follo s he . The shot u s fo o e tha t o i utes. The o a f o the p e ious shot sits do i the da k oo , Ve tu a lies o the g ou d ith his head i he lap. The speak a out a i als that fo shado s i the da k ? . Whe the o e to the e hite houses the o t e a le to see su h thi gs i the da k a o e. The shot lasts fo th ee a d a half i utes. A sho t shot of Ve tu a alki g th ough the slu . I Va da s li i g oo . Va da, he hus a d, a d Ve tu a sit at the ta le i sile e. The hus a d s okes a iga ete, Va da ies a d s okes. Ate t o i utes Ve tu a gets up, e ause it is hot as he sa s. Va da sta ts to talk – )ita as he siste . Ba k i the slu . A lose-up of Ve tu a as he e ites the lo e lete . The e itaio of the lete lasts fo t o i utes. Ve tu a e ites ith o e oio o ha ge of to e. Ne t shot. His f ie d, l i g o the ed, sa s that it is a a ful lete . I the hospital. Ve tu a isits Paulo. Paulo talks a out the ope aio he had, a d a out his ish to get a de e t jo – a golds ith ould e the est – , hile Ve tu a, sho i g o ea io , sits e t to the ed. Paulo a ts Ve tu a to go ith hi to eet his othe . He fou d out so e da s ago that he has e o e g a dfathe , so he a ts his othe to gi e hi his daughte s add ess. Paulo speaks slo l a d i a de la ato st le. The stai shot lasts fo o e tha si i utes. Ve tu a sits o the stai s i a stai ell, al ost i the da k. “o e people pass ; so e i isi le oi es a e hea d. The he gets up a d as e ds. The shot lasts fo t o i utes. I Ve tu a s oo a k i the slu . His ate o es i ith a heate – to ight the ill sleep i a th. The ate sa s – Ve tu a ill e e get the lete se t e ause the ate a ot lea it a d a ot ite it, a d Ve tu a is t a le ite it do eithe . The ate goes to get so e ele t i it . Ve tu a s ate li s do a ele t i it post. Ve tu a u ies the hite loth he had a ou d his head. I the da k e a el see Ve tu a s ate l i g o the g ou d e t to the ele t i it post. I Va da s ed oo . While Ve tu a lies o he ed, she sa s aloud that o Mo da she has to go to “o ial “e u it . “he also has to go to the e ete to lea he othe s a d )ita s g a es. “he does ot ha e the ou age to deal ith )ita s. Mou i g fo )ita is like ou i g fo he self. Va da egi s to polish Ve tu a s ? shoes. Ve tu a sits do . The shot lasts fo al ost fou i utes. I f o t of Ve tu a s house. He o es ith a luggage a ie a d goes i . Ve tu a a d a o a sit do ehi d a ta le o tai i g suppe . Ve tu a tells his daughte that he ought so e g illed hi ke to he othe i the hospital o the da she as o . Ho did he i he othe s hea t, she asks. Ve tu a tells the sto – the episode, shot i th ee shots, lasts fo t o i utes. II. Case Studies - 6. Colossal Youth 161 Ve tu a alks do a st eet i Fo tai has. Ve tu a as e ds the stai s i the e house. Le to ope s a doo i the slu a d lets Ve tu a i . Le to a d Ve tu a sta d i a u ed out oo , holdi g ha ds. I a dialogue of al ost poei ualit , Ve tu a talks of ho he hea d that Le to a d his fa il of fou hild e ju ped out of the i do du i g the i e. Le to sho s Ve tu a the hild e s oo , he e the all gathe ed a d aited fo help, ut o od a e. Ve tu a i ites hi to o e li e i his ig, e lat – the e is e ough spa e fo all his hild e , ut he de li es. He egi s to e ite the lo e lete I ish I ould ofe ou iga etes… . Ate se e al li es, the e is a ut. Le to a d Ve tu a i a othe u ed out oo . A ediu lose-up of the e . This is the ed oo he e it all ega . The e sa fa e ell to ea h othe . The a e a pa s o e a i e , a pa k a d ealth ho es i the a kg ou d. Ve tu a sits i a oat that is stee ed a othe a . The oat loats out of the f a e. Ve tu a k o ks at Va da s doo , she lets hi i . “he has to lea e fo a lea i g jo , so she lets Ve tu a sta ith he daughte . Befo e lea i g Va da iel liste s at the doo . The she ope s the eigh o s doo a d goes i . Ve tu a iel sta ds i Va da s li i g oo i the da k ess, the lea es. Ve tu a lies o Va da s ed i he ed oo . Va da s daughte pla s the edside. The E d.
. . Degree of tella ilit The ai dife e e et ee Colossal Youth a d the othe ase e a ples i this stud a e dete i ed if e o pa e the elaio ship et ee the tella ilit of the e e ts o s ee a d the a the a e a a ged i to a plot syuzhet . Da id He a has pi poi ted the i po ta e of oth aspe ts i stud i g a ai e a d i looki g fo e a s to odel the i te elaio s et ee fa ula a d suyzhet. I the ase of a u usual il su h as this, this lai ill e ei e jusii aio . To egi , the deg ee of tella ilit of the e e ts i the il should e o side ed. To e apitulate, the u de sta di g of tella ilit he ei follo s the ‘ a s dei iio , ho sees it as a i he e t ualit of a i iies that ake the sto ies o th telli g. As is lea f o the il s des ipio , e it ess episodes ith a o iousl e lo le el of tella ilit fo e a ple: Ve tu a sta di g i a a h i the slu ; Ve tu a ith a f ie d sii g at a ta le sa i g othi g; e a i g fu itu e out of the house , hi h a e alte ated ith episodes ith a highe though sill e dife e t le el of tella ilit fo e a ple: Va da talki g a out gi i g i th to he daughte ; the go e e t oi e s p ese taio of the e
47 �avid Herman Story Logic: Problems and Possibilities of Narrative, Lincoln, 2002, p. 104. 48 �arie-Laure �yan Tellability in �avid Herman, �anfred Jahn, and �arie-Laure �yan (eds.) �outledge Encyclopedia of Narrative Theory, London, 200 p. 89. II. Case Studies - 6. Colossal Youth 16� lat to Ve tu a; Paulo i the hospital, Le to s sto a out the i e i his lat . Thus, this o ept si ila to a ai it a ot e dei ed as a o olithi e it . I stead, e ha e to o side this featu e as displa i g dife e t deg ees of ualit . The sto a out the death of Va da s siste )ita, e io ed se e al i es i the il , a ui es a ki d of p i ipal a ai e de elop e t. Ho e e , Colossal Youth also de o st ates that a il s ele e ts o t i ute de isi el to the p o ess of ho a plot a ui es tella ilit , ut o l if the o te tual k o ledge is a aila le to the ie e . Without it, these ele e ts de o st ate o deg ee of tella ilit hatsoe e , a d he ei lies the p i ipal dife e e ith the il Goodbye, Dragon Inn. I Goodbye, Dragon Inn o te tual k o ledge supple e ted the sto a d e ha ed its tella ilit , he eas i Colossal Youth the a io o s ee ote does t e eal a thi g to the audie e. The e a ple i uesio is the e se Ve tu a keeps e ii g th oughout the il Nha et heu, lo e, eei g agai ill ighte ou li es fo at least ea s.… . As Ped o Costa e plai s, it is pa tl o posed of li es f o a poe F e h poet ‘o e t Des os, a d it is pa tl Ve tu a s o o t i uio . Fo the di e to , oth e e e to eet e ause:
Both a e o de ed, dest o ed e , ghosts of othe e that despite to tu e, ad ess a d e ploitaio sill a aged to esist. This lo e lete had to e o e a o al a d polii al testa e t, a de la aio of a .
Ho e e , hat e a e let ith is the al ost o oto e epeiio . Jo atha ‘o e assig s it a o a ula i g a d a spell, a agi u e fo ostalgi solitude . This is a ase he e the epeiio o the audito le el e ha es the i e sio i to the i age a d the fa t that e a ot lassif these lo e lete episodes i to a li ea ause-a d-efe t hai o t i utes e e o e to ou o e t aio o the i age a d its so i ualiies.
But this o lusio al ead leads to a othe issue, hi h is i dispe sa le i a al zi g the dii ult a ai es of slo i e a. It is that of e e ful ess o a ai it , e ause tella ilit ata hes to the o igu aio s of fa ts a d a ai it to se ue es ep ese i g o igu aio s of fa ts.
. . Chro ologi al order as a o diio for arrai it I the p e ious a al sis the uesio of e e ful ess as add essed as it has ee alled Wolf “ h id a d Pete Hüh , a d ei g a a ai e as put ‘ a . Co e i gColossal Youth, the se ue i g of e e ts depi ted i the shots see s to highlight the p o le o e agai . Assu i g that the il is s ee ed i a i e a, the audie e as e pe ie ed i e a- ie e s, taki g i to a ou t thei i tuiio a out il i st u tu es, ill e pe t a a t il ega dless of
54� ����� ����� Juventude em March/Colossal Youth �� ��� ���� ������ Pedro Costa Retrospective Booklet, 2009, p. 8. 0 Jonathan �omney Exile and the kingdom: Colossal Youth �� Sight and Sound, June 2008, available at http:// old.bi.org.uk/sightandsound/review/433 (Accessed 10.04.2013). 1 �avid Herman Story Logic: Problems and Possibilities of Narrative, Lincoln, 2002, p. 100. II. Case Studies - 6. Colossal Youth 16� ho halle gi g it a e. O a lose i spe io , ho e e , the g eatest dii ulies ith the il i uesio o e its fo as a pu poseful a ai e. The p o le is as Mei “te e g e plai ed i his ate shed a i le Ti e a d Narraive: To e su e, o od ho has thought a out a ai e st u tu e a d i te p etaio is likel to de that fo a ai e to ake se se as a ai e, it ust ake h o ologi al se se. Fo the e e ts o posi g it do ot fall i to so e li e of o ld-i e, ho e e p o le ai thei alig e t a d ho e e appeali g thei alte ai e a a ge e t, the a ai it itself disappea s. A d this is the p o le the ie e of Colossal Youth is fa ed ith. The i st uesio to e add essed is that of i i al o diio of a ai it , ith a ha ge of state usuall ega ded as o e of the o diio s. That i plies that the e has to e a te po al st u tu e et ee the states a d so e ki d of si ila it et ee the i iial a d the i al situaio .553 I Colossal Youth, e ept fo the i fo aio a out )ita s death a d Va da s g ief i the follo i g episodes, the te po al o de i g of the othe episodes e ai s u lea as o lea ause-a d-efe t hai a e esta lished. Take the s e es ith Ve tu a – the e a e so e he e he has a a daged head – these s e es see to e set i the past, ate the a ide t he had at the o st u io site of the a t useu . Ho e e , the e a e o a ke s fo this fa t – if e ega d the a dage as a a ke , it is o iousl ot set i the s e e i a a that the audie e ould ake it out to e a te po al a ke . I this ega d the issue of the i -up of ke els a d satellites a e ought up o e agai , as it as do e i the a al sisLiverpool of , he e the i po ta e of e e ts fo the fu the de elop e t of the plot he e ot u de li ed the stagi g.
I te esi gl , “ h id eli i ates the p ese e of a ausal o e io et ee the states f o his dei iio of the i i al o diio of a ai it , e ause the ausalit et ee the is ote ot lea l p ese t i the te t, a d a o l e i fe ed the eade .554 “u el i i e a the efe ts of pa i ula auses a e ote e pli itl depi ted o s ee . Fo e a ple, he e see Ve tu a i a stai ell, ut i the e t shot he sits i Va da s ed oo , e a o lude a ausal elaio et ee these t o shots. But fo the est of the il , the o l lea lue e ha e is Ve tu a – a elde l o ke f o Cape Ve de a d a i ha ita t of Fo tai has, ho he a les th ough the slu a d th ough the e l - uilt dist i t of Casa al Bo a he e the fo e i ha ita ts of Fo tai has a e elo ated. Ve tu a is o sta tl i i g-up a es a d ide iies, all the people he eets he alls his hild e , a d the ide it of his ife e ai s u k o as Ve tu a efe s to he as Cloilde, o a o a ho looked like Cloilde . As o e a lea o l f o the e ie s, the il is pa tl set i the past, du i g the Ca aio ‘e oluio
55� ���� ��������� Telling in Time (I): Chronology and Narrative Theory �� Poetics Today, Vol.11, No. 4, Winter 1990, p. 903. 3 Wolf �chmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald �üller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 19. 4 Wolf �chmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald �üller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 20. II. Case Studies - 6. Colossal Youth 164 of Ap il , , ut Costa dist i utes o a ke s fo the s e es set i the s. “o he o es a k a d fo th i i e, ut that is t o ious f o the il itself. The di isio et ee the past a d p ese t eaks do to a ds the e d of the il , he Le to, ho has lo g ee dead e a iss this fa t e ause it is ot fo e-g ou ded the sto s st u tu e , isits Ve tu a i his e ho e. The o ept est suited fo the lassii aio of su h s e es a d hi h helps to u de sta d the te po al o de i g i Colossal Youth is that of pol h o i a aio as de eloped Da id He a . These a e a ai es he e e tai e e ts ha e o i ed posiio i the te po al f a e of the sto – the sta i dete i ate. 555 Fil s fo pol h o i a aio lea i g out e tai i fo aio that ould foste the li ea a ai it of the sto . 556 Colossal Youth is the o l o e of the slo i e a e a ples he ei that has su h featu es – all the othe il s de o st ate e li ea a ai e de elop e t. As He a poi ts out, su h a h o ologi al e e ts a ot e des i ed usi g the lassi al a ai e theo at ha d. The uesio e ai s: hat is the fu io of this fuzz te po alit i this pa i ula il ? It see s that i the ase ofColossal Youth e a ag ee ith Da id He a ho a k o ledges that fuzz te po alit is ote just that – fuzz te po alit , hi h esists a ate pts fo li ea izi g the e e ts. The theo he ei is that this h o ologi al o de i g, as it tu s ou ate io a a f o li ea plot de elop e ts, o t i utes to the audie e s o e t aio o the at osphe e of the il a d the ate ialit of the i age. Thus Colossal Youth ould e a pa i ula l good e a ple fo a fu the stud o the hapi ualiies of slo i e a. Judgi g the deg ee of a ai it i Colossal Youth a d o pa i g it to the othe ase e a ples, e ha e to etu to the o te io e p essed agai a d agai du i g this stud . Na el , that i the ase of slo i e a e a ples e ha e to speak ot o l a out tella ilit as a s ala atego , ut also a out a ai it as a featu e possessi g a s ala ualit . “o the il Fallen, ith its sea h fo the easo s fo a ou g o a s sui ide, displa s lea - ut e e ts – the o a ju ps i to the i e a d the o l it ess – Maiss – egi s to sea h fo he ide it a d the easo s ehi d the t agi deed. Fallen possesses oth – the a ai e i its o ga izaio posits a ase of lea a ai it also ea i g its a ai e o ga izaio a e laid out a oss K isi Tho pso s fou a t s he e , a d the e e ts as su h ha e a high le el of tella ilit the i iiate e e ts that lead to othe e e ts, o situi g ha ge a d e situaio s. I o pa iso , The Turin Horse is a o e o ple ase of the elaio ship et ee tella ilit a d a ai it . Fo e a ple, i the episode at the e d of da o e: I the da k ess ith o l the sto e u i g, the talk a out the ood o s, hi h the do t hea fo the i st i e i ea s. The do t k o hat to ake out of it. Ate uliple ie i gs it e o es lea that p e isel at this ea l poi t i the il – the th i ute, the i st sig that the o ld is
�avid Herman Story Logic: Problems and Possibilities of Narrative, Lincoln, 2002, p. 212. � �bid., p. 24. 7 �bid., p. 220. II. Case Studies - 6. Colossal Youth 165 o i g to a e d appea s. Thus, su h a i us ule ha ge i the Ohlsdo fe s e e da oui e as the disappea a e of ood o s o situtes a ha ge a d a a ai e e e t. Ho e e , i assessi g the tella ilit of this e e t as its i he e t featu e, e o e to a o lusio that it is e lo . I te s of the sto s fo though, di ided i to si da s ith a o ious de elop e t alo g h o ologi al li es, it s o siste t ith ou e pe taio s to a ds a il a d thus e a atest a high le el of a ai it to the plot of The Turin Horse. I a ai e theo o e also speaks of o - a ai e, a d the lai he ei is that o e of the easo s h the ie i g of Colossal Youth a esult i a audie e alk out is the o - a ai e fo of this il . The easo fo that a e fou d o t o le els. The depi ted e e ts, as e plai ed a o e, ote sho a lo le el of tella ilit . Addiio all , althoughColossal Youth has a il s st u tu e e ause the e e ts follo ea h othe i a . hou i ef a e, the e ai ostl u elated, o thei elaio ships a ot e dis e ed ight a a . E e o e, if e take ha ge as the de isi e a ke fo a a ai e the Colossal Youth is a o - a ai e, e ause he e e e ou te o odii aio of the state. Thus, if e ega d the slo il s as a g oup as o pa ed to ai st ea Holl ood i e a, the the all see to ha e e loose st u tu e a d a el dete ta le ha ges i thei sto ies. O l as o pa ed to ea h othe a d set agai st ea h othe , the e e ts i these il s sta t to a ui e dife e t deg ees of tella ilit . A d also, the a ai e o st u io of the e a ples de o st ates that the e e ts a e o ga ized usi g dife e t le els of loose ess. We a the efo e o lude that it s ot the le el of telli ilit of the e e ts the sel es, ut the de a d that a il e o st u ted as a a ai e e it that is a o e de isi e o diio fo a il to e pe ei ed as a p ope sto , hi h i tu ge e ates i te est i the ie e a out fu the a ai e de elop e ts a d thus e ou ages hi to e ai i his seat. This ie is o siste t ith “ h id s lai that a ha ge of state a e lo ated o sto -le el as ell as o the le el of dis ou se. Ho e e , the e ui e e t fo a ha ge o the le el of dis ou se is de isi e fo a i i al o diio of a ai it .
These dife e t deg ees of tella ilit a d a ai it lea l ha e to ha e a i pa t o ho a d hethe i te est i the sto a de elop.
. . “uspe se or i terest? Not su p isi gl , the fa t that lo g st et hes of Colossal Youth sho fuzz te po alit has o se ue es fo a ie e s suspe se o e e i te est i hat happe s e t. I the p e ious hapte the o ept of suspe se as i t odu ed a d applied to slo i e a. O e of the ost i po ta t theses as that the pu e li ea it of the plots i these il s u s ou te to the idea of suspe se. But the fuzz te po alit i Colossal Youth is a e e o e o pli ated
8 �ené Audet Narrativity: Away from story, close to eventfulness in �ené Audet, Claude �omano, Laurence �reyfus, Carl Therrien, Hugues �archal Narrativity: How visual Arts, Cinema and Literature are telling the world today, Paris, 2007, p. 18 9 Wolf �chmid Narrativity and Eventfulness in Tom Kindt, Hans-Harald �üller (eds.) What Is Narratology? Questions and Answers Regarding the Status of a Theory, Berlin, 2003, p. 22. II. Case Studies - 6. Colossal Youth 166 ase. Fi st of all, as so e ki d of de elop e t a o l e atested to se e al the es )ita s death, fo e a ple , a d the goals a d ishes of the othe ha a te s a e ot e p essed, o e oio al i ol e e t ith the ha a te s a de elop. The fa t that the a ai e su essio of the episodes e ai s ostl u lea akes it e e ha de to de elop i te est i the il . It is fa easie to de elop e path fo Va da e ause the sto ies she sha es f o he life tou h upo su h ital the es as gi i g i th to a hild, aisi g a hild, a d the death of a lose elai e. I o pa iso , Ve tu a, ith his de la ato -st le spee hes a d deta hed aitude to a ds the g a e e e ts of his life, fails to de elop a e oio al o e io ith the ie e . Bo d ell suggests speaki g a out suspe se o a i o-le el, hi h a e lo ated i si gle shots o episodes. Thus, fo e a ple, the epeii e lo e lete s e es a eate suspe se out of u iosit a out hethe the e ill e ha ge a oss the u e ous shots ith Ve tu a e ii g. Ho e e , this a also e o side ed a featu e of eta-suspe se, as it o e s the a isi soluio s hose the il ake .
. . The i porta e of o te tual assu pio s I ega ds to the issue of tella ilit the uesio of o te t as tou hed upo , ho e e , this issue is e e o e u ial if dis ussed ithi the f a e o k of a ai it , e ause it foste s ou u de sta di g of ho the ausal hai et ee dife e t e e ts a e uilt. Pete Hüh , i speaki g of the e e ful ess of the te t u de li es its depe de e o the o te tual k o ledge – a e e t a e lassiied as su h o l ith espe t to its so ial, ultu al a d histo i al sei g. He ai tai s:
…e e ful ess is uli atel ot a te tual p ope t , ut has to e i fe ed a d o situted eade s th ough elai g the te tual ues to thei k o ledge of the pe iod. Although the te t a thus e see to p o ide app op iate ues, eade s a iss the poi t of the e e t, a d i pa i ula the a fail to app e iate the ele a e a d dii ult of the t a siio if the a e ig o a t of the o te po a so ial a d ideologi al o te t of the o el o if the appl a i app op iate f a e of efe e e.
What is the f a e of efe e e fo Ve tu a s a de i gs? Who a e all these people he alls his hild e ? Is Ve tu a the o l li k et ee the o is the e a oade o te t fo these people s sto ies? We do ot e ei e a e pla aio f o the il itself. I o de to gai o e e ha e to add ess e t a- i e ai sou es su h as i te ie s ith the il ake o a i les ite il ii s. I a et ospe i e ooklet f o the Tate Mode Costa e plai ed his u ge to shoot this il as follo s:
I ealized that the Ap il th ‘e oluio , that fo e as a o e t of l i al e altaio
�0 John Pier, José �ngel �arc�a Landa: �ntroduction. John Pier, José �ngel �arc�a Landa (ed.): TheoTheori�ri�inging Narrativity, 2008, p. 11. �1 Peter Hühn Functions and Forms of Eventfulness in Narrative Fiction in John Pier, �ngel �arcia Landa (����) Theorizing Narrativity, Berlin, 2011, p. 1. II. Case Studies - 6. Colossal Youth 167 a d e thusias , o situted a ight a e fo Ve tu a. I as a kid at the i e. I e t out to the st eets, de o st ai g, a d, p o a l , al ead d ea i g a out i e a. A hile ago, I looked fo so e photog aphs of the Ma st o ds ith thousa ds of people ele ai g. It s i edi le – ou do t see a si gle la k fa e. Whe e e e the ? Ve tu a told e that the e e all huddled togethe , a solutel te iied, hidde i the Est ella Ga de , o ied a out thei futu e. It is p e isel e ause I il these thi gs i this a e that I do t elie e i de o a . No o e i Fo tai has elie es i de o a . People like Ve tu a uilt the a ks, useu s, theat es, s hools, a d o do i iu s of the ou geoisie. A d it s p e isel hat the helped uild that defeated the . You ha e the uellest p oof of this failu e i all the othe oo s, the ago of Paulo, Va da, )ita, the pe a e t ollapse of these oo s.
O , as il ii De ise Le e to e plai s i a o e ge e al a e Costa s i te t i Colossal Youth is to tell the histo that o od has et told, the sto of the i ig a ts of Ve tu a s ge e aio ho e e lost i the shule of Po tugal s t a sfo aio i the id- s f o a di tato ship to a li e al de o a . 563 This the is a i po ta t issue hi h has to e aised – ho e e the poi t tella ilit of Colossal Youth a o l e dis o e ed ith these e pla aio s i i d. I this ega d, Costa s il ese les o eptual a t he e ote the o k itself a o l e u de stood th ough a i te p etaio deli e ed the u ato o the a ist hi self. I a al zi g Goodbye Dragon Inn the i po ta e of the o te tual assu pio s e e poi ted out, ut this ase e a ple is dife e t. Na el , i Tsai Mi g-Lia g s il the addiio al i fo aio o Tai a ese histo a d il ultu e uilt a supple e ta le el fo those ie e s ho had this i fo aio at ha d. Ho e e , the di e to s ai o e – the losi g of the i e a a d the de li e of il ultu e – a also e u de stood ithout the . I o pa iso , the polii al essage Costa t ies to o e i Colossal Youth, a e ai u lea fo a la ge pa t of the audie e as it is ot e pli itl add essed i a of the il s episodes. Fo that t o othe fa to s – the e e ts Costa hooses to i lude i the il tella ilit a d thei li e-up a ai it – a e also a ou ta le. Co se ue tl , ie e s a ha e the i p essio that the il is totall o i g . I te esi gl , il theo ei ia “te e “ha i o s a usaio is that the e is p o o ai e ess issi g i o te po a slo i e a, ut the lai he ei is that e a i d it i Ped o Costa s o k. But he is a si gula ase, e ause his o k is so e epio al a d esides o the fa edge of slo i e a. His p ede esso s e e Jea Lu Goda d, Luis Bu uel, Dusa Maka eje , Jea Ma ie “t au a d Da ielle Huillet i Eu ope, a d ‘uss Me e , Paul Mo isse a d Joh Wate s i the U“A i the s a d s.564
56� ����� ����� Juventude em March / Colossal Youth �� ���� ������ Pedro Costa Retrospective Booklet, 2009, p. 8-9. 56� D����� ������ Pedro Costa’s “Vanda Trilogy” and the limits of narrative cinema as a contemplative art �� D����� ������ Long Pauses, available at http://www.longpauses.com/costas-vanda-trilogy/ (Accessed 14��4���1�)� �4 Andr�s B�lint Kov�cs Screening Modernism. European Art Cinema, 1950 – 1980, Chicago, 2007, p. 32. II. Case Studies - 6. Colossal Youth 16�
. . No -e iste e of the a t s he e Not su p isi gl , all these e pli aio s a out the o te t of the il s plot as deli e ed Costa a d Le e to also ha e o se ue es fo dis e i g the il s st u tu e. Without the , Colossal Youth e ai s a asse lage of f ag e ts. Although slo i e a il s ote a la k ight ause-a d-efe t hai s, i the othe ase e a ples o e a sill ake out a st u tu e ith a lo ge set-up a d othe pa ts of oughl the sa e le gth, he e the tu i g poi ts ot so u h push the sto i a e di e io ut fu io as a ala that ote a ake s the ie e f o the auto ais of pe epio . But i Colossal Youth o su h st u tu e a e dis o e ed. It a e des i ed as o e la ge hu k of il – i utes – ith o set- up, o fu the de elop e t, a d o tu i g poi ts. O e a ot e e talk of Ve tu a as a ha a te fou d i a t i e a, ho e e ai a d ague he ight e. The e a e o e ts i these f ag e ts he e o e a dis e its of sto – that Va da stopped taki g he oi a d is o o ethado e o situtes a sto to the ie e s ho k o Costa s p e ious il In Vanda´s room. “o e t a es of a li ea a ai e a also e ade out i the sto li e ith the go e e t age t ho sho s Ve tu a his e lat. Ho e e , the e t e e plot f ag e taio akes it i possi le to dete t the a t s he e i this pa i ula e a ple. But, as this stud ega ith the thesis that o e a ake out a t st u tu e i slo i e a, this fa t is ot ega ded ith f ust aio . The o lusio that Colossal Youth o iousl does ot e d to this la of s ee ii g a d athe se es as p oof that the eai it of a ists out u e s the possi iliies the theo ei ia s a i e t is e i el el o e. But hat a e the o se ue es of this plot o st u io i o p ehe di g the sto ? Episodi st u tu i g of the plot a d the loose i g of the ause-a d-efe t hai a e ha a te isi to the a t i e a a aio as stated Da id Bo d ell i his ate shed ook Narraio i the Ficio il . But i Colossal Youth these ies a e e e loose a d the f ag e ts e e o e dis o e ted to ea h othe . This e epio al il the akes hea de a ds o its audie e, hi h a est e des i ed usi g the ‘ele a e theo , o e i g the use of o te t i the o p ehe sio p o ess.
. . A Rele a e theor perspe i e
As u de li ed se e al i es, the ai aspe t of i te est i this stud is the fu io alit of the a isi featu es e a dis o e i slo i e a. Fo that, the ‘ele a e theo s pe spe i e has to e take i to a ou t. I thei a i le Prag aics a d Ti e, Dei d e Wilso a d Da “pe e also add ess ases he the e a e o ead - ade s he as to guide the i te p etaio p o ess as it is ith Colossal Youth. The theo ei ia s asse t that i o sta da d ases the fa ts e p essed i the ute a e ust o t i ute so eho to o e all ele a e. The p o ess taki g pla e he ei the des i e as follo s: II. Case Studies - 6. Colossal Youth 16�
If the li guisi all e oded i fo aio is too ague, o too i o plete, to ield a i te p etaio o siste t ith the o u i ai e p i iple of ele a e, it ill e e i hed usi g i ediatel a essi le o te tual assu pio s, to a poi t he e it is ele a t e ough.565
What as ea t the o u i ai e p i iple of ele a e? It states that e e ute a e [..] eates a p esu pio of ele a e i the hea e . 566 Ho e e , the hea e does ot pu sue a i u ele a e ut o l opi al ele a e e ause of st lisi p efe e es i this ase a t house i e a , a d the speake a ot ha e e p essed hi self i the ost e o o i al a ith hi h to ake the ele a e a i all possi le.
O iousl , the speake – let s heu isi all a e hi Ped o Costa – ega ds this sto of Ve tu a a d his eigh ou s o th telli g, a d thus e pe ts that i ould also e opi all ele a t fo his audie e.
The efo ulaio of the itle Colossal Youth i to Colossal Bore il jou alists i di ates that the audie e a ha e so e p o le s i as i i g ele a e to the plot. As the a isi st u tu e of the il , ith its lo g st et hes of o tella ilit a d o ausal hai s et ee dife e t episodes, suggests, i te s of ‘ele a e theo the li guisi i fo aio , as Wilso & “pe e all it, is o iousl too ague i te s of e al ute a es to e as i ed ele a e ight a a . A d, as the il does ot elo g to a pa i ula ge e that ould fu io as a s he a leadi g the sea h fo ele a e, the ie e o iousl has to o sult othe sto o te ts. But, as e io ed, e a i e at a i possi le p o le e ause of the di e ge e of hat a e see o s ee a d the a tual i te t of the di e to . It as e e pliied est a o e ith Costa s uotaio a out his i te io s i aki g this il . We a ot si pl dis o e the o te tual k o ledge eeded i o de to o tai opi u ele a e fo the e e ts o s ee f o the a i iies the sel es. A u h oade pe spe i e a d e pe ie e i Po tuguese histo is eeded i o de to assess ele a e to the e e ts a d ha a te s i Costa s il . O l a e s all seg e t of a i te aio al audie e ill ha e that at thei disposal. I this pa i ula ase e a t to d a o the idea e p essed Li ia Pola i. Although she o es f o the ield of dis ou se li guisi s a d is ela i g o l o atu al la guage a ai es i he esea h, he e pla aio of the de isi e o st ai s put o sto ies the speake s ultu e helps to e plai the possi le eakdo of o u i aio du i g the s ee i g of Colossal Youth. Pola i holds that What is i te esi g is ultu all , so iall , a d pe so all dete i ed. “he e plai s that ultu all i te esi g ate ial ill e of o e o l to the
� �eirdre Wilson, �an �perber Pragmatics and Time in �eirdre Wilson, �an �perber Meaning and Relevance, London, 2012, p. 183. �� �bid., p. 177. �7 About the issue of the author in ilmi lm see chapter about the iilm lm ���. �8 Livia Polanyi So What´s the Point? in Semiotica Vol. 2 , Nr. 3/ 4, 1979, p. 211. II. Case Studies - 6. Colossal Youth 17� pa i ipa ts of a pa i ula ultu e; so iall i te esi g ate ial, hi h is of o e li ited appeal, ill a ouse i te est i a gi e so ial g oup; pe so all i te esi g ate ial has the a o est appeal of all a d ill dife a o g the i di iduals. The a gu e t he ei is that the easo s ehi d a audie e e e s de isio to stop at hi g a il a e lo ated et ee these th ee atego ies of i te est i te se i g ith the tella ilit of e e ts a d thei o ga izaio i to a a ai e st u tu e ou i g i e ai stagi g as a pa t of this atego . Follo i g the t ai of thought de eloped Pola i, ho hooses the atego ies arraive, or eve t structure and descripive structure to des i e the ki ds of i fo aio i sto ies, the stud he e ega ds these as t pes that help to o te tualize the i fo aio fou d i sto ies, o i il s. We do ho e e eed to del e i to the thi d ki d of i fo aio as fo ulated Pola i – that of evaluaive st u tu e. It e p esses hat the a ato feels is u ial i fo aio i the sto he is telli g. Pola i asse ts that ithout the a ato s e aluaio fu io i g as o te tualizi g i fo aio fo the e e ts, a sto is just a asse lage of details ith o a of u de sta di g the poi t. Lea i g aside o epts su h as i e ai a ato a d e u iato as the ould ot o t i ute u h to the issue i uesio , e skip to the stud s o te io that o e of the easo s fo disappoi t e t i Colossal Youth is the fa t that, although Costa s pe so al i te est i the i ha ita ts of Fo tai has a jusif his hoi e i aki g a il a out the , the ie e a iss the e aluai e st u tu e – o di e to s oi e – th oughout the sto . F a kl , all stagi g hoi es a e i te p eted as the di e to s sig atu e, ut i this ase the uesio e ai s if a isi sig atu e is easo e ough to sustai i te est i the sto . Fo i e a ai io ados Costa s a isi sig atu e a e o te t e ough to spe d . hou s i the i e a, ut the ai o e he e is that pa t of the audie e fo ho the s ee i g e o es o i g a d ause to lea e. I fa t, the lai he ei is that this ill o e ote e the ase du i g the il s s ee i g a oad tha i Costa s ai e ou t . But keep i i d that i oth situaio s e a e sill speaki g of i e a-edu ated audie es ho a e ead to i est o e efo t i to u de sta di g the auste e, plot-less il s of slo i e a. O , as Pola i states: hat sto ies a eall e a out is, to a e sig ii a t e te t, ultu all o st ai ed.
A othe side ote that eeds to e st essed is that he eas su je ts a d the es fo il s ote o e f o spe ii ultu al o te ts, the il i de i es used a e u i e sal, although e tai s hools a d pe iods sho e tai st lisi p efe e es.
The o je io a e ade that as Colossal Youth o iousl lea es all the t adiio al t a ks of a ai e o st u io ehi d, a e it is ot the sea h fo ele a e that has to e take as the guidi g p i iple fo e pe ie i g su h a il . If e o side that su h issues as hapi i e a a d i e sio i to the i age as e e pliied i the ase stud of Blissfully Yours a also e
�9 Livia Polanyi So What´s the Point? in Semiotica Vol. 2 , Nr. 3/ 4, 1979, p. 211-212. 70 �bid., p. 209. 71 Livia Polanyi So What’s the Point? in Semiotica Vol. 2 , Nr. 3/ 4, 1979, p. 207. 72 For more on this issue see �avid Bordwell Figures Traced in Light: On Cinematic Staging, Berkeley, 200, p. 242-249. II. Case Studies - 6. Colossal Youth 171 applied to this il , the e should es he the ‘ele a e theo out of ou ethodologi al tool kit. Ho e e , the lai he e is that these dife e t il pe epio egi es a fu io si ulta eousl , a d a ete uesio ould e hi h a a pa i ula ie e ould p efe to ha dle the il . “peaki g i theo ei al te s, the o ept of the do i a t helps to g asp the p o le .
. . The Do i a t as a guidi g pri iple
‘ussia “t u tu alist ‘o a Ja o so a k o ledges that the do i a t is o e of the ost u ial, ela o ated a d p odu i e o epts of the ‘ussia Fo alist Theo . A tuall , Ja o so o o ed the idea of the do i a t f o Ju ij T ja o , ho e plai ed that i e e o k of a t so e ele e ts a e pla ed i the fo eg ou d – the fo the do i a t, a d all the othe e ai i g ele e ts o to it. I e e t lite a theo , the disi guished lite a theo ist Mei “te e g o ks ith the oio of the do i a t, ut also sees the o ept as e igid o e – the do i a t a is a d fo e al a s o e takes othe ele e ts.
The lai he e is that a u ial dife e iaio has to e ade. Na el , e a i d a do i a t fo e i the o st u io of a a t o k as a ed lite a s hola s, a d e a also ake out a do i a t f o the se e al odes possi le fo e pe ie i g a il .
I te s of plot, the oio s of plot tella ilit a d a ai it a d des ipio e e tou hed upo .
The suggesio he ei is that the do i a t i slo i e a is e luid – du i g e tai st et hes of the plot the plot do i ates, he eas des ipio do i ates du i g othe s. The st e gth o eak ess of a ai it a d tella ilit i ea h passage also i lue es the do i a t fo e. Fo e a ple, the episodes i Liverpool ith Fa el o i g f o o e lo aio to the e t su h as o the lo possesses lo tella ilit a d a e the efo e o e do i ated des ipio tha the episodes ith Fa el i his ai e illage eei g his fa il , hi h hold o e e e ful ess a d thus o pl o e to the de elopi g plot. I ge e al, o e ight sa that ost of the episodes i slo i e a o tai i g ha a te s goi g f o o e pla e to a othe i full du aio a e do i ated a lo deg ee of tella ilit a d thus a e alled des ipio .
I te s of o i g to g ips ith slo il s the stud suggests dife e t possi iliies su h as elishi g the p ese t, de oio to the e oio eated o the i e sio i to the i age. Ho e e , the sta i g poi t a d the easo fo hoosi g the ‘ele a e theo as the ope ai g
73 �oman Jakobson The Dominant in Ladislav �atejka, Krystyna Pomorska (eds.) Readings in Russian Poetics: Formalist and Structuralist View, Chicago, 2002, p. 82. 74 Jurij Tynjanov On Literary Evolution in Ladislav �atejka, Krystyna Pomorska (eds.) Readings in Russian Poetics: Formalist and Structuralist View, Chicago, 2002, p. 72. 575 ���� ��������� How Narrativity Makes a Difference �� Narrative, Vol.9, No.2, �ay 2001, p. 121. II. Case Studies - 6. Colossal Youth 17� a ual as the assu pio that the ause-a d-efe t hai is the ost po e ful p i iple in ho ie e s assess a il . As Pete so su a izes – pe ei e s i pose o de if the a ot dis o e it , – a assu pio that holds t ue fo a il ega dless of ho halle gi g it ight e. Ou e pe ie e as il ie e s i du es us to i d so e ki d of o de i the plot. At the sa e i e, all ase e a ples de o st ate that the a ai e s he e is just o e of the opio s the ie e has at his disposal.
Du i g the a al sis of Colossal Youth it as e io ed that the a i hi h the i po ta e of the il s sto a e app e iated is lose to o eptual a t. Fla aga , i speaki g a out Costa s o k a es A d Wa hol as his p ede esso a d thus akes a lea li kage et ee Costa a d e pe i e tal i e a. But i this t pe of a t the plot is lea l o l o e opio a o gst othe s. The ie e s ho hoose the sea h fo ele a e as thei guidi g light ill e o e pa t of the audie e that lea es the i e a a d o se ue tl efe s to the il as Colossal Bore.
But the the uesio a ises of hethe it s possi le to p edi t hi h st ateg of e pe ie i g a il the ie e ill hoose? The p oposal he e is that the do i a t a pa tl e p edi ted the i situio al f a e o k i hi h the il is s ee ed, a d the a isi t adiio to hi h it elo gs. Ho e e , fo the il i uesio he e the s ee i g e ue ight e the ost i po ta t lue that dei es ot o l the st ateg hose to ake se se out of the il , ut also the tole a e the ie e is ead to sho to a ds Colossal Youth.
. . I porta e of the i situio al fra e ork
I the i t odu io to the a al i al odels that ight e deplo ed i the stud , the i po ta e of i situio al o st ai ts , as ‘oge Odi a ed the il o p ehe sio p o ess, as u de li ed. Mei “te e g also a k o ledges the fu da e tal sig ii a e of the f a e o k fo u de sta di g the fo .
Na el , if Colossal Youth is s ee ed ithi the f a e o k of a il fesi al o at a a t house i e a, the the u ge to dis o e so e ki d of a a ai e ight e the do i a t guidi g p i iple fo u de sta di g the il . Co se ue tl , the p o ess of o u i aio ight esult i a ie e s dissaisfa io . Ho e e , if Colossal Youth e e to e s ee ed at a a t useu
7� James Peterson Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema� �etroit, 1994, p. 24. 77 James Peterson Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema� �etroit, 1994, p. 24. 78 �bid., p. 2. 79 �atthew Flanagan: Slow Cinema’s: Temporality and Style in Contemporary Art and Experimental Film , 2012, University of E�eter, p. 49, available at https://ore.e�eter.ac.uk/repository/handle/1003�/4432 (Accessed �ay 2013) . 80 �bid., p. 40. 5�1 ���� ��������� Reconceptualising narratology. Arguments for a Functionalist and Constructivist Approach to Narrative �� Enthymema, �V 2011, p. 4�. II. Case Studies - 6. Colossal Youth 17� o du i g a e pe i e tal i e a p og a he e othe st ategies shape the u de sta di g of the a t o k, the the out o e ight e ot so ise a le fo the ie e . As se e al slo i e a di e to s also p odu e ideo o ks fo i te aio al a t i situio s, this supposiio see s jusiied. E e o e, as the oots of slo i e a as e plai ed i the i t odu io lie pa tl i st u tu al il , the lassii aio of Colossal Youth so e he e et ee a t house a d ideo a t, o l ou ishes the p oposal to ega d this ase e a ple as l i g o the fa e d of slo i e a. I hoosi g Costa s il as a o ludi g e a ple fo this stud de o st ates o i i gl ho di e se this supposedl ho oge ous g oup slo i e a a e.
Fo the o ludi g hapte i this stud a out slo a aio the p oposal is a dife e t ie o these il s. This i e, the ethodolog applied is staisi al st le a al sis, hi h o iousl does ot o situte the sta da d a i it of a il ie e du i g s ee i g. Ho e e , if the a e age shot le gths o tai ed f o the appli aio of staisi al st le a al sis a e li ked to the i sights gai ed a out a t st u tu e i these ase studies, the esults add to ou u de sta di g of the a ai es of slo i e a.
III. Staisical Style Analysis 174 III. Staisi al St le A al sis a d proof of para etri it I all the lite atu e a out slo i e a the lo g take is e io ed as its fo e ost st lisi featu e. The possi iliies of theo izi g o this issue a e t ofold. O o e ha d, the uesio a out the lo g take fo eg ou ds the efe ts su h shots eate. O e a t adiio all uote A d é Bazi , ho e phasizes the li e aio of the gaze of the ie e as e a led the lo g take – as a esult the ie e a hoose he e to fo us his gaze. It also adds to the de-d a aised a aio e ause o a io o la ds ape is so u i po ta t that it should e o ited, as Wi We de s has stated.582 This li e of a gu e t leads to the uesio a out the efe t of ealis eated th ough the lo g take, ut this topi ill ot e pu sued i this p oje t.583 O the othe ha d, ith the e e ge e of digital hu a iies the issue of the lo g take has ee app oa hed ith the help of staisi s. B iish il s hola Ba “alt de eloped a ethod of staisi al st le a al sis fo easu i g the so- alled a e age shot le gth A“L of a il o e tha fo t ea s ago. He i st p oposed it as a a al i al tool i his thesis The Analysis of Style in the Cinema in 1968584, ut his idea e ei ed ide e og iio o l ate ei g pu lished in Film Quarterly i the a i le Staisi al St le A al sis of Moio Pi tures. The ethod as e si ple: i o de to o tai the A“L alues, “alt p oposed to ou t the shots i the il . The the il ’s le gth is di ided the u e of shots. Ho e e , at the egi i g of this e tu , a o li e appli aio alled Ci e et i s as de eloped Lat ia s Yu i Tsi ia a d Gu a s Ci ja s, hi h e a les esea he s to easu e il s usi g o te po a ele t i al de i es a d o tai digital data. Ci e et i s ofe s esea he s t o possi iliies. I the si ple ode of Ci e et i s the du aio of the shot has to e egiste ed du i g the il ie i g; i the ad a ed ode the s ale of the shot has to also e e og ized585. A detailed e pla aio of the g aphs ill follo i the e t hapte . Mai l , staisi al st le a al sis is a ua itai e ethod that is also ei g used i usi olog a d lite atu e studies a d is applied i th ee ases: fo the e og iio of st lisi pate s; to help esta lish autho ship; a d to suppo t the lassii aio of a t o ks i thei h o ologi al o de .586 Ci e et i s is a ope a ess p og a , so that the data o its ho epage o situtes a joi t efo t of o e tha il s hola s f o a ou d the o ld. But the e aluaio of the data deli eates the li its of a t adiio al il s hola . Na el , o l s hola s ith t ai i g i staisi s a get out the ost of the data. I o de to ake the Ci e et i s data useful fo this esea h p oje t, the hoi e as ade to o e t ate o those data assess e t ethods that a e
582 Wim Wenders Drei Rivalen. The Tall Man in Emotion Pictures. Essays und Filmkritiken. 1986-1984. Frankfurt a. M., 1986. 583 For more information about this issue see Tiago Magalhães de Luca Realisms of the Senses. Tendency in Contemporary World Cinema, University of Leeds, 2011, availabe at http://etheses.whiterose.ac.uk/1760/ (accessed May 2013). 584 Barry Salt Moving Into Pictures. More on Film History, Style, and Analysis, London, 2006, p. 13-16. 585 As in most cases we are dealing with moving camera, it is not possible to use the advanced mode of Cinemetrics in case of slow cinema. 586 Warren Buckland, Thomas Elsaesser Studying Contemporary American Film: A Guide to Movie Analysis, London, 2002, pp. 101-16, available at http://cinemetrics.lv/buckland.php (Accessed 1.05.2013). III. Staisical Style Analysis 175 di e tl o e ted to the a al sis of the a ai es of the il s i uesio . The ai of this hapte is to a al se the shot le gths i the il e a ples a d to pla e the i elaio to ea h othe . Addiio all , the ai is to dete t hethe the e is a o e io et ee the le gth of the shot a d its a ai e o te t. The hapte s that e plo ed the fou - a t-s he e e ealed that i slo i e a il s the e a e se e al e t e el lo g shots, a d that il ii s ha e dei ed this to e a i po ta t featu e of slo i e a. The e as also dis ussio of hethe a o e io a e esta lished et ee the a ai e i po ta e of the shot a d its le gth, a d hethe these esults a e used i seeki g a e dei iio of pa a et i a aio i i e a. Da id Bo d ell, i his ate shed ook Narraio i the Fi io Fil , listed this ode of a aio a o g othe s, a d it is a o o u de sta di g that the pa a et i ode of a aio p e ails i slo i e a. Da id Bo d ell, i speaki g a out pa a et i a aio ote that:
[..] the e e ists a othe so t of a aio , o e i hi h the il ´s st lisi s ste eates pate s disi t f o the de a ds of the s uzhet s ste . Fil st le a e o ga ized a d e phasized to a deg ee that akes it at least e ual i i po ta e to s uzhet pate s.587
I egi i g of this p oje t the uesio a ose of hethe this is ot just a s eepi g ge e alizaio – that slo i e a is al a s a o pa ied pa a et i it – a d thus the eed to eassess this issue. I the ou se of a al si g a ai e st u tu es i slo i e a, it tu ed out that i the ase of The Turin Horse e a lea l add ess pa a et i a ai e, he eas i the ase of Fallen o l a eak ase of pa a et i a aio a e fou d. The suggesio he ei is that ith the help of Ci e et i s data it ould e possi le to o tai ot o l a o e detailed dei iio of the pa a et i ode of a aio , ut also so e o espo de ies et ee the A“L a d the de elop e t of the a t s he e. Usuall the le gth of the shot depe ds o its s ale a d o the a ai e o te t. The thesis he e is that fo pa a et i a aio i slo i e a this i te depe de e eaks do a d a e de o st ated th ough Ci e et i s. Fu the o e, a the ph si al appea a e of a il ’s staisi al data suggest that e a e deali g ith a slo i e a e a ple?
587 David Bordwell Narration in the Fiction Film, Madison, 1985, p. 275. III. Staisical Style Analysis 176 1. Fil e a ple: Good e, Drago I dir. Tsai Mi g-Lia g, 588 Te h i al data of the i age: e i al esoluio pi el/se , high pi , deg ee of the t e dli e . The ello li es i the g aph a k the di isio s et ee the il ´s a ai e seg e ts. 589
The A“L of the il lies at se , the edia shot le gth is . se , sta da d de iaio is . .
This list of the o e data of Ci e et i s ot o l eeds to e e plai ed, ut also dis loses so e of the ke p o le s of Ci e et i s. As e io ed, the A“L is oio al data o tai ed ith the help of a athe ai al p o ess. I o t ast, the edia is de i ed f o the a tual shot le gth alues of a il . Whe the data is a a ged f o sho test to lo gest shot, it is the o e i the iddle. The Ci e et i s site o tai s a huge dis ussio et ee the Ci e et i s p a iio e s a out the issue of hethe the A“L o the edia should e the p efe ed efe e e pa a ete . Mike Ba te , i his e t to the site, e plai s it as a o p o ise soluio i that e a tuall ha e to use oth pa a ete s, e ause Both a e eeded to ake the pi tu e ifo al. 591 Ea h pa a ete tells us a othe sto . What st ikes e a out the data f o Goodbye, Dragon Inn is the dife e e et ee the A“L a d the edia . Na el , the fo e is al ost t i e as la ge as the late . At this poi t it is i po ta t to ote that, i o t ast to the a ha ts usuall used i staisi s,
588 Measured by Elīna Reitere, entry of the ilm at Cinemetrics, http://www.cinemetrics.lv/movie.php?movie_ ID=8388 (Accessed 12. 06.2013). 589 In order to obtain comparable graphs I have chosen the same degree of vertical resolution and the same degree of the trendline for all my ilm examples, although this can create quite an erratic trendline. Only the highs of the graph can differ depending on whether the shots in the ilm are shorter than 300 pix or longer (then the graph has 500 pix). 590 For the different positions on this issue visit the chapter Films and Statistics: Give and Take, available at http://www.cinemetrics.lv/dev/on_statistics.php (Accessed 25.04.2013). 591 Yuri Tsivian What Do Lines Tell? Available at http://www.cinemetrics.lv/dev/on_statistics.php (Accessed 25.04.2013). III. Staisical Style Analysis 177 the Ci e et i s g aphs a e i e ted. Yu i Tsi ia e plai s as follo s:
.. he e lau hed the Ci e et i s site, peaks a d alle s is hat i te ested us i the i st pla e; e e e e e sed the usual Y-a is of shot le gths upside do fo ou g aphs to do etail ith the i e-ho o ed t adiio to ep ese t the li a as a ape , ot as a a ss.592
It is e i po ta t to e plai that th ee of the peaks i the t e dli e at the e egi i g of the il a d a ou d the th a d th i utes of Goodbye, Dragon Inn oi ide a ai el ith the th ee episodes of the il , he e see the il Dragon Inn , di . Ki g Hu p oje ted o s ee a d oss- ut ith the lose-ups of the ashie . “o, if the eato s of Ci e et i s p edi ted that he e usuall see a peak i the t e dli e e a o lude that the e is so e ki d of a li a i the a ai e o st u io of the il , the this is the i st e o ious p oof that this thesis does ot al a s hold t ue. But this t ai of thought e ou ages us to take the Ci e et i s g aph as a te plate a d o pa e it ith the esults o tai ed i the p e ious hapte a out the a ai e o st u io of the il s. Ja es Cui g a d his olleagues ha e a ied out si ila esea h he e the a al sed the ph si al st u tu e of Holl ood il s f o to i espe t to the fou -a t-st u tu e de eloped K isi Tho pso . The research paper Ho A t Stru ture S ulpts Shot Le gths a d Shot Tra siio s Ja es Cui g a d his olleagues that se es as the poi t of efe e e he e, has to e app oa hed e a efull e ause he di ided the il s a o di g to the fou -a t odel auto ai all ithout taki g i to a ou t the plot de elop e t of ea h il . That is the huge dife e e et ee his a al sis a d the a al sis he ei , e ause i the pa t of the p ese t stud dedi ated to the a al sis of the ase e a ples, the plot de elop e t of the il s i uesio as losel e a i ed. To e apitulate: the thesis he ei is that the a ai e of Goodbye, Dragon Inn a e di ided i i e u e ual pa ts. The setup of the il , a o di g to Ci e et i s, u s fo the i st i utes of the il .593 It is follo ed a o pli ai g a io i utes - , de elop e t i utes - , a d li a i utes - . The i al pa t of the il – the epilogue – sta ts at the th i ute a d lasts u il the th i ute of the il . This o e all st u tu e al ead de o st ates a dis epa f o Tho pso ’s fou -a t-s he e. Na el , she does ot ega d the epilogue as a sepa ate a t – she ou ts it as a pa t of the li a . As the a ai e a al sis of the il i the p e ious hapte de o st ated, i slo i e a the epilogue te ds to take o a o e p o i e t ole. It ote is ot sho t – it a e e e uite p olo ged. Addiio all , the epilogue ostl o tai s a othe a ai e oif as the li a , thus dife e iai g itself
592 Films and Statistics: Give and Take available http://www.cinemetrics.lv/dev/on_statistics.php (Accessed 25.04.2013). 593 One important note has to be made here: namely, there are minor differences between the length of the ilm on DVD and the measurements of the ilm in the Cinemetrics database. This difference comes about because in the narrative analysis of the ilm I take into account the whole duration of the ilm, but for Cinemetrics, according to the tradition of the database, the credit sequences without scenic content are not measured. III. Staisical Style Analysis 178 disi tl f o the p e ious a t. As e a o lude f o the g aph of Goodbye, Dragon Inn, the il ’s setup egi s ith so e e sho t shots that g aduall e o e lo ge a d fo the i st alle of the il . To a ds the e d of the setup the shots te d to e sho te agai . This de elop e t o situtes a ou te -e a ple to the Holl ood t adiio , he e, a o di g to Ja es Cui g et al., the setup sta ts ith le gth esta lishi g shots.594 What I fou d i po ta t a d hat ep ese ts a di e sio of o elt i this esea h p oje t is the o e io et ee the shot le gth a al sis a d thei a ai e o te t. Of i te est he e a e the lo gest shots i the pa i ula a t a d the sto ies the o tai , e ause i all the des ipio s of slo i e a the autho s highlight the lo g shot as a egula featu e. As th oughout the a ai e a al sis se e al e lo g shots at a ted this stud ’s ate io , the staisi al st le a al sis helps to app oa h this issue o e igo ousl . “o, i the setup ofGoodbye, Dragon Inn, the lo gest shot se sho s se e al e u i ai g i the i e a’s la ato . This a io i itself has o i po ta e fo plot de elop e t, ut this se ue e adds to esta lishi g a pa i ula at osphe e. The e t shot, also uite le gth . se , depi ts the ashie alki g th ough the i e a. What’s o e – the last itee se o ds of the shot sho a e pt s e e. Thus, it see s that e a ot esta lish di e t li ks et ee the shot le gth a d the tu i g poi ts of the plot i this il . I stead, lo g shots he e f o the a ai e poi t of ie othi g happe s , lead to a ethi ki g of the dei iio of pa a et i ode. Da id Bo d ell, ho oi ed the te , used it fo il s he e the st le of the il de eloped a life o its o . It see s that the ethod of Ci e et i s, i helpi g to gai a deepe i sight et ee the shot le gths a d thei a ai e o te t, a also deli e e e ide e fo the pa a et i a ai e. The o pli ai g a io ep ese ts a lassi al e a ple of a a t as stated Ja es Cui g. His state e t: a a t ote egi s o e ds ith lo ge shots. 595 Ate a e a k Ba “alt, Ja es Cui g et. al. e ised thei esults a d dis a ded so e se io s. 596 O e also a ot adhe e to the thesis that lo ge shots a e fou d at the eaks of the a ts. As a addiio al a al sis has sho , this lai holds t ue o l fo the li a . Although Cui g e ised his ie s, his i st opi io ill e efe ed to fo heu isi pu poses e ause it helps to i te p et the data he ei . I a ase, the o lusio ill agai efe e e the ha ges i Cui g’s thesis. In Goodbye, Dragon Inn the o pli ai g a io sta ts at the i ute a k a d lasts u il the th i ute. As e see f o the g aph, at the egi i g of the o pli ai g a io the e is a lo g shot that is . se o ds lo g, a d at the e d of the a t the e is o e . se o ds i le gth. These t o shots f a e the a t that o sists of o pa a l sho te shots. He e the a state e t i a i ipaio of the o lusio of the il - su h o espo de e ith the ph si al
594 James E. Cutting, Kaitlin L. Brunick, Jordan E. Delong How Act Structure Sculpts Shot Lengths and Shot Transitions in Projections Vol. 5, Nr 1, 2011, p. 8. 595 Ibid.p. 8. 596 James E. Cutting, Kaitlin L. Brunick, Jordan E. Delong On Shot Lengths and Film Acts: A Revised View in Projections Vol. 6, Nr. 1, 2012, pp. 142 – 145. III. Staisical Style Analysis 179 st u tu e of the a e age popula il a e o pa a l a e i slo i e a. The t o lo gest shots of the o pli ai g a io depi t ho the ashie des e ds the stai s shot . , . se a d the episode he e the Japa ese tou ist talks ith a othe pat o a out ghosts i the theat e shot . , . se . Whe eas shot . does ot see to e i po ta t a ai el , shot . ep ese ts the i st dialogue of the il a d deli e s a possi le e pla aio fo hat is goi g o i the old i e a. The de elop e t a t o sists ostl of id-le gth shots, i o pa iso to the A“L of the il . Addiio all , fou out of i e shots a e uite si ila i le gth, ut this a e e plai ed the fa t that all the shots of this a t se e to uild up o e pa i ula episode i the il ’s a ai e. The i al shot of the pa t is the lo gest o e – . se – a d it depi ts the s e e he the te iied Japa ese tou ist lea es the i e a audito iu . This le gth shot, as it e a e lea i the a ai e a al sis of the il i the p e ious hapte , is a e i po ta t o e, e ause the sto li e of the old i e a as a eei g pla e fo ho ose uals o es to a e d ith this shot. F o the poi t of ie of shot le gths, the li a is the ost u ala ed pa t of the il . Na el , he e o e e t e el lo g se o d shot is o t asted ith shots that a e elai el sho t , , , se o ds fo a il ith a slo a aio . The efo e, the t e dli e he e fo s a s all peak. Ja es Cui g dis o e ed that i sta da d Holl ood p odu io s shots ould e o e slightl sho te to a ds the iddle of the a t.597 As e io ed a o e, Cui g o e ted this ie late o – the thesis that the shots te d to e sho te to a ds the iddle of the a t holds t ue o l fo the li a se io .598 Fo heu isi easo s ho e e , the i st e sio of Cui g’s pape ill e efe ed to. I the ase of Goodbye, Dragon Inn, e a o se e su h a te de i the o pli ai g a io , the de elop e t a d the li a . The epilogue see s to e uite ala ed o sisi g of shots of si ila le gth et ee a d se o ds , so that the t e dli e, although fo i g a s all peak, des e ds agai . I a ase, o ate ho the shot le gth i this il de elops, the ph si al appea a e of the epilogue dife s o pletel f o the othe a ts of the il , so that the ph si al i age of the shot le gths suppo t the h pothesis de eloped i the hapte a out a ai e – that i slo i e a the epilogue has to e ega ded as sepa ate a d o its o ight. Fi all , it should e st essed that the e t ao di a lo g shots i this il , if o pa ed ith o e a othe apa t f o the o e all shot-le gth pate , te d to get lo ge a d lo ge th oughout the il . This eates the i p essio that the il slo s do o e its ou se. If e o pa e the lo gest shots of the il ith thei a ai e o te t, e a ot dete t a o espo de es. It see s that the e is o hie a h et ee the le gth of the shot a d its a ai e i po ta e i this e a ple. Thus, the a isi hoi es ade the di e to see totall a it a . O , that
597 James E. Cutting, Kaitlin L. Brunick, Jordan E. Delong How Act Structure Sculpts Shot Lengths and Shot Transitions in Projections Vol. 5, Nr. 1, 2011, p. 10. 598 James E. Cutting, Kaitlin L. Brunick, Jordan E. Delong On Shot Lengths and Film Acts: A Revised View in Projections Vol. 6, Nr. 1, 2012, pp. 142 - 145. III. Staisical Style Analysis 180 the isual st le i this il a ui es a ight o its o . It is the efo e te pi g to a k this il as a ase of pa a et i a ai e, ut a e i po ta t disi io et ee a t i e a a d its pa a et i ode ust e st essed. Na el , if i the ase of a t i e a the a isi hoi es ade the il ake s a see totall a it a , the i the ase of pa a et i it , a igo ous st lisi pate a e ade out.599 F a kl , this is the poi t i Bo d ell’s dei iio of pa a et i ode that akes the dete io of su h il s so ha d, e ause it ot o l de a ds a e ate i e ie e , ut also a e a uite su je i e p o edu e as the ide ii aio of a isi pa a ete s also elies o the ie e ’s i te p etai e apa it . I a ase, ith the help of Ci e et i s e a o se e the elaio ship et ee a il ’s lo gest shots a d its a ai e o te t, as a al sed i the p e ious hapte of this disse taio , a d the du aio as su h e o es a ki d of a at a io i slo i e a. Fo e a ple, the . se o ds lo g shot i the li a is the shot of the e pt i e a, hi h, f o the a ai e poi t of ie o situtes the peak of the sto , although i t adiio al a ai e te s othi g happe s i this shot. The shot sho s o l a e pt i e a hall ith o ie e s, a d thus the i e a is o de ed to e losed do . He e e e ou te a situaio possi le o l i slo i e a – that a e pt shot a sill a i po ta t a ai e i fo aio . This fa t highlights the dii ult i disi guishi g i po ta t f o less i po ta t s e es i slo il s. I o de to isualize the dife e e et ee the shot-le gth diag a of a slo i e a il a d a o di a ai st ea p odu io , the il The Bour e Uli atu f o the Ci e et i s data ase a e oted.
It has a A“L of . se o ds, u thi ka le fo slo i e a, a d the a ge of the shots – the dife e e et ee the sho test a d lo gest take – lies at . se o ds. Usi g the sa e
599 Matthew �lanagan �low Cinema: Temporality and �tyle in Contemporary Art and Experimental Cinema, 2012, University of Exeter, p. 134, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 600 Diagram of The Bourne Ultimatum, measured by Adrian Tomas Samit at Cinemetrics: http://www. cinemetrics.lv/movie.php?movie_ID=10653 (vertical resolution - 10 pixels, height 200 pixels, degree of the trendline – 12) (Accessed 12.04.2013). III. Staisical Style Analysis 181 deg ee of the t e dli e, e get a u h s oothe t e dli e that e phasizes the fa t that e a e deali g ith shots that do ot dife as e t e el i le gth as i slo i e a. “u el it ould e te pi g if it e e possi le to dete t slo i e a f o a gla e at the il ’s Ci e et i s g aph. But this is a solutel ot the ase. The esults of the staisi al st le a al sis of slo i e a il s sho si ila featu es to the il s e io ed as p ede esso s of the slo i e a o e e t, fo e a ple the il Ulysses Gaze Theo A gelopolous. It has a A“L of . se o ds a d a a ge of shot-le gths of . se , hi h o es lose to the alues of a slo i e a il .
Ulysses Gaze,
F o this i st e a ple it see s o ious that the staisi al st le a al sis suppo ts the o ious t uth that slo i e a o situtes a ou te pa t to Holl ood ai st ea i e a. Ja es Cui g o ludes i his a i le that the pate s of fou a ts, suppo ted his ph si al
601 �ite of the iilm lm (measured by Adrian Tomas �amit) at Cinemetrics http://www.cinemetrics.lv/moviehttp://www.cinemetrics.lv/movie.. php?movie_ID=10591 (vertical resolution - 1 pixel, height 500 pixels, degree of the trendline – 12) (Accessed 12.04.2013). III. Staisical Style Analysis 182 a al sis of staisi al data, se e to guide the ie e ’s e pe taio s a out a il a d its a ai e p og ess. Although i dis o e i g that i thei shot st u tu e slo i e a il s dife o pletel f o the a e age il , e a ot o lude that this featu e ould su p ise audie es. Be ause, as as stated i the i t odu to hapte s of this thesis, these il s a e ade fo i e a-edu ated audie es fa ilia ith the a ai e o s of a t-house i e a, a d that ou ote ha e to depa t f o ou e pe taio s a d e ead to e gage ith the u e pe ted.
602 James E. Cutting, Kaitlin L. Brunick, Jordan E. Delong How Act Structure Sculpts Shot Lengths and Shot Transitions in Projections Vol. 5, Nr. 1, 2011, p. 10. III. Staisical Style Analysis 183 . Li erpool dir. Lisa dro Alo so, Ve i al esoluio pi el, height pi els, deg ee of the t e dli e – A“L . ; Media . , sta da d de iaio . .
To e apitulate: the setup of the il lasts fo i utes, a d the e is o o pli ai g a io i the il . I stead, de elop e t egi s ight ate the setup a d lasts fo i . The follo i g pa ts ha e the follo i g le gths – the li a lasts fo i utes, the epilogue – i utes. Li erpool ope s ith a o e tha i ute-lo g shot sho i g e pla i g o pute ga es. As Ja es Cui g dis o e ed, i sta da d Holl ood p odu io s the setup sta ts ith le gth esta lishi g shots. Although fo the e t i e i utes the shots a e uite sho t, it see s that slo i e a il ake s u de sta d the i st shot of the il to e the st le-dei i g ele e t, so that it has to deli e the aesthei sig atu e of the di e to . The efo e, the i st shot is usuall a lo ge o e. But, the e is o e i po ta t dife e e et ee slo i e a a d a ai st ea p odu io . Na el , hile i the late the i st le gth esta lishi g shots o tai e i po ta t a ai e i fo aio , i the ase of slo i e a, as e see i Li erpool, su h shots a e o e i po ta t as st le a ke s tha p o ide s of a ai e i fo aio . I the su se ue t i utes of the setup i utes - , sho te shots do i ate, ut ithi the de elop e t the le gth of the shots i eases. E p essed o e a u atel , lo ge shots te d to e o e lo ge du i g the ou se of the setup. The t o lo gest shots of this pa t appea at the e d of the setup, o espo di g ith Ja es Cui g’s dis o e that the lo gest shots a e o se ed ea the eaks of the pa ts. I the de elop e t i utes - , e e ou te the sa e te de – the lo gest shot of the pa t o es to a ds the e d i its th i ute . Ate this . se o d lo g shot, hi h takes pla e i a a tee of the illage, the li a egi s i utes - – the appea a e of the shots lea l sta di g out. Although the du aio of the lo ge shots o i uousl e te d th oughout the u i g i e, the ui g pate i this pa t de o st ates o pa a l lo g
603 Measured by Elīna Reitere, the ilm�si lm�s entry into Cinemetrics available at: http://www.cinemetrics.lhttp://www.cinemetrics.lv/movie.v/movie. php?movie_ID=12519 (Accessed 15.04.2013). III. Staisical Style Analysis 184 shots that esults i a lea - ut alle i the t e dli e. “o this is the slo est pa t of the il that o elates ith the a ai e o te t of the li a . I this pa t Fa el isits his ill othe – these episodes ha e a sad, ostalgi o e to e, a d as su h lo g shots a e the est-suited ou te pa t to the a ai e o te t i te s of st lisi s. He e e i d p oof fo Ba “alt’s lai that the t eat e t of s e es i te s of the ui g ate o the A“L a ies depe di g o the atu e of the a io i the . As i the pa ts efo e the li a , this pa t too e ds ith a outsta di g lo g shot, sho i g Fa el lea i g the illage. The the epilogue egi s i utes - , hi h i its edii g pate o e agai lea l dife s f o the p e ious pa ts. Na el , ith the e epio of the last shot, he e the shot le gths a e oughl ala ed ith a slight te de of e o i g lo ge . But the e a e o e t e es as i the p e ious pa ts. As ould e felt du i g ie i g, the epilogue has a e dife e t edii g pate tha the est of the il a d a p oof fo that a e fou d th ough staisi al st le a al sis. E e o e, if i the hapte o the a ai e a al sis of slo i e a the di isio of il pa ts ight ha e looked a it a , the the a al sis of the i e et i al data of the il s de o st ate o siste ies i the edii g pate s of pa i ula a ai e pa ts. I doi g so, the suppo t ot o l the hose di isio of the il s i to plot u its, ut also o i the thesis he ei that slo i e a il s o sist of u e ual pa ts. The i al o se aio o the staisi al data of Li erpool is the fa t that, o pa a l , i the pa t of the il that takes pla e i the to the setup , the shots a e sho te tha i the se o d pa t of the il that takes pla e i the ou t side. O e ight sa – the fast pa e of it -life is o siste t ith the faste ui g, he eas the slo e pa e of u al life is depi ted i lo ge shots. This a alog et ee the shot o te t a d shot le gth se es as a p oof that the st lisi hoi es a e fu ded i the a ai e. But this is ot a su p isi g o lusio . I o pa iso , i the a al sis of the il Goodbye, Dragon Inn, it see ed that the lo gest shots de elop a sepa ate life a d a e ot fu ded i a ai e, so that i a ase e a speak of a t i e a, if ot pa a et i it . The opi io of this thesis is thatLi erpool is a e a ple of slo i e a, though e a ot auto ai all a e the st le of the il pa a et i o l e ause the il has e te si el lo g shots. I this il , as e io ed, the le gth of the takes is less i ide tal. Thus, su h e a ples i ite us to app oa h the issue of pa a et i il st le o e auiousl .
604 Barry Salt Getting a Result, 2013, available at Cinemetrics http://www.cinemetrics.lv/dev/on_statistics.php (Accessed 25.04.2013). III. Staisical Style Analysis 185 . The Turi Horse dir. Bela Tarr, Ve i al esoluio pi el, height pi els, deg ee of the t e dli e – . A“L . ; Media . , sta da d de iaio . .
Quite u usuall fo a slo il , the i st shot of The Turin Horse does ot e eal a thi g a out the il ’s st le. Na el , it is a la k shot ith o l the a ato ’s oi e telli g the sto . O l the se o d shot of the il , hi h depi ts the old a ith his a iage o the a a k ho e lasi g fo se o ds, dis loses the st lisi app oa h of the il ake . Cu iousl e ough, e e i te s of a t i e a this is a e e te ded shot, ut o pa ed to the est of the il it is o l a e age ot ou i g the i te -itles ith the A“L of the hole il ei g . se o ds ith a edia of . se o ds. “hots . , , , , , a e la k i te -itles i t odu i g the u e of the pa i ula da , so the do ot elo g to the plot. These shots ot o l a ou e the da , ut the also se e as the eaks et ee the a ai e a ts of the il ith the e epio s of the shots
605 �ite of the iilm lm at Cinemetrics available at http://www.cinemetrics.lv/movie.php?movie_ID=9�60 ((AcceAccessedssed 26.04.2013); in this the measurements of the ilm by Adrian Tomas �amit were used. III. Staisical Style Analysis 186 . a d . As these shots a e of a du aio of litle o e tha se o ds, the fo outlie s if o pa ed to the est of the shots i the il , hi h usuall last fo se o ds a d u h o e. Thus, the distu the staisi al a al sis of the il e ause the A“L p ese ts a staisi al ea et ee the lo g a d the sho t shots. It see s that i ase of The Turin Horse, it ould e ete suited to el o the edia alue of the il .
As stated ea lie , the setup of The Turin Horse lasts u il the th i ute of the il . I the il Fallen, hi h also has e e te ded shots a d hose di e to F ed Kele e also as the cameraman on The Turin Horse, the lo gest shots of the pa i ula a t dis lose the ost ele a t plot i fo aio . But i The Turin Horse this does ot see to e the ase. The lo gest shots i the setup a e shots . fathe a d daughte put the ho se a d the a iage i to the sta le , . daughte helps fathe e o e his lothes , a d . the eat di e . No e of these shots a e lassiied i a ai e te s as o e i po ta t. All see to ha e the sa e a ai e i po ta e. The also ha e al ost the sa e du aio . Thus, i the setup of the il it is ot possi le to ake out a a ai e hie a h of the takes. But it is i po ta t to ote that all these takes de o st ate i tuous a e a o e e ts, hi h a e used ega dless of plot de elop e t. Co se ue tl e a ega d the a e a o e e t as a pa a ete of this pa i ula ode of a aio . The o pli ai g a io sets i ith the th i ute a d goes o u il the th i ute, that is to sa , it e o passes the se o d da of the a io . The e a e th ee shots i this a t that si k out i espe t to thei du aio . These a e the shots . i the o i g, the daughte pou s ate f o the o l , . the daughte pou s ate f o the o l ate ha i g do e the lau d , a d . the eigh ou ’s isit . What u ites the th ee shots is e e te si e a e a o e e ts th oughout the takes, ut this is also the ase i takes ith less e te ded du aio . F o a a ai e poi t of ie , shots . a d . do ot e eal a i po ta t sto i fo aio – the just illust ate the e e da oui e o the fa . I o pa iso , shot . is uite a iguous. As stated i the a ai e a al sis of the il , this episode ith the eigh ou ho o es to o o so e a d is a tuall a false tu i g poi t – i a ai e te s it leads to othi g. It just se es to e e the ie e ’s i te est i the sto . I te esi gl e ough, this lo gest take of the a t is situated at the e d of the pa t. The fa t that shots . a d . , ot o tai i g a i po ta t a ai e i fo aio , a e pai ed ith i tuous a e a o e e ts a e i te p eted as a p oof fo the pa a et i ode of this pa i ula il . Na el , i shots he e the a ai e gai of the shot is e lo ut the stagi g stagge s the audie e, e e ou te takes ith a pu el de o ai e fu io as is usual i the pa a et i ode. De elop e t I sta ts at the th i ute a d lasts u il the d i ute. It des i es the e e ts of the thi d da . The lo gest shot of the a t is the ope i g take. It sho s the daughte i the o i g o he a to the ell. This shot . lasts fo . se o ds. “hot . , hi h depi ts the g psies a i i g at the fa a d hi h is a ai el a o e i po ta t shot, III. Staisical Style Analysis 187 is o side a l sho te o l . se o ds . Thus he e e e ou te a othe shot hi h th ough its e te ded le gth has a pu el de o ai e fu io . De elop e t II takes pla e f o the d i ute u il the st i ute of the il ; this a t o sists of si shots. All a e of a o side a le du aio et ee . a d . se o ds, ut the th ee lo gest o es a e . daughte goes to the ell i the o i g a d dis o e s that it is e pt , . fathe a d daughte isit thei ho se , a d . fathe a d daughte u load the a iage ate thei etu . If e o pa e the le gth of these shots ith thei a ai e o te t, the o l shot . a e ega ded as ha i g a tu i g poi t. Na el , the d i g- out of the ell is the last i ide t i the hai of e e ts that fo es the fathe to ea h the de isio to lea e thei ho estead. Both othe p olo ged shots depi t a i iies that do ot p opel the sto . Thus, as i the p e ious a ts of The Turin Horse, su h takes se e the eed fo dé o , a d i doi g so the pa a et i ode of the a ai e o es i to ei g. Cu iousl e ough shot . , hi h depi ts a ast la ds ape a d the fa il a iage at i st lea i g the shot, ut ate so e se o ds o i g a k ho e, is the sho test shot of the a t – just . se o ds. “u h shots ith ha a te s depa i g e o d the ho izo a d the o i g a k ithout a ut to the e t shot ha e e o e sta da d i a t-house i e a du i g the last ea s. O e ight e te pted to sa that this sho t shot ith su h de isi e a io se es as p oof that i The Turin Horse, like i a sta da d Holl ood il , the ost i po ta t a io is depi ted i the sho test shots. But su h a o lusio ould e totall isleadi g e ause i the ase of this o pa a l sho t shot e a e sill deali g ith shots ith a e epio all lo g du aio i o pa iso to the A“L of a ode -da , t adiio al Holl ood il . This ill e the su je t of the su hapte a out Blissfully Yours. The li a of the il sta ts i its st i ute a d lasts u il the e d of the il , o tai i g also a e sho t epilogue o sisi g of o e . se o d shot. As the t e dli e sho s, this is o pa a l the fastest a t of the il . All i all, The Turin Horse, hi h si ks out f o the slo i e a e a ples he ei ith thei e lo g shots, is a e spe ial ase. It is ot o l the slo est il of these slo i e a e a ples, ut also, as sho a o e, it is the t uest e a ple of the pa a et i ode of a ai e. This a e p o e u ii g the a ai e a al sis of the shots ith the esults o tai ed f o the staisi al st le a al sis. III. Staisical Style Analysis 188 . Falle dir. Fred Kele e , Ve i al esoluio pi el, height pi els, deg ee of the t e dli e – . A“L . , edia . , sta da d de iaio .
The i st shot sho s the pla e he e the i st episode takes pla e a idge o e a i e , ut a tuall o tai s the ope i g edits of the il . It is at a ate i luded i the staisi al a al sis of the il . But i this ase e a ot ega d its le gth as a a isi state e t of the di e to , e ause it lasts o l as lo g as the ope i g edits. “o the i st shot of the il , hi h sets the a isi age da of the di e to ’s sig atu e, is a tuall the se o d shot, hi h ith its du aio of . se o ds al ead p edi ts the o e all pa e of the il . It is a o e the A“L of the il of . se o ds so, si ila l to the p e ious e a ples, the i st shot of the il is a st lisi de la aio a d also the i st e du a e test fo the audie e. The setup lasts fo i utes a d o sists of shots. The lo gest shot is i the iddle, a d
606 Measured by Elīna Reitere, the ilm�si lm�s entry into Cinemetrics available at http://www.cinemetrics.lv/http://www.cinemetrics.lv/movie.movie. php?movie_ID=1255� (Accessed 3.05.2013). III. Staisical Style Analysis 189 lasts fo . se o ds shot . . I the se o d shot of the il , hi h is a o g the lo gest i the setup, the i iial p o le is set – the ai ha a te Maiss hea s a o a falli g i to a i e . I shot . e e ei e all the useful i fo aio a out the ai ha a te his a e et . , ut this shot also deli e s a poli e oi e ’s st a ge o ologue, hi h is ot fu the de eloped as a the e. I a ase it see s that the shots ith the lo gest du aio o tai the ost i po ta t a ai e i fo aio . I the setup, it see s that the e is a te de fo the le gth of the lo gest shots of the a t to i ease o e the ou se of the pa t. The o pli ai g a io lasts fo the th to the th i ute of the il , a d he e e a also o se e the te de of the shots e o i g lo ge to a ds the e d of the pa t. The lo gest shot of the o pli ai g a io is situated at the e d. It is shot . , it lasts fo . se o ds a d depi ts the episode he e Maiss eads Ali a’s lete , hi h i a ai e te s is the tu i g poi t of the plot. As i the setup, the ost i po ta t a ai e i fo aio is dis losed ithi the lo gest shot. The de elop e t egi s i the th i ute of the il a d u s u il the th i ute. It o sists of eight shots a d the lo gest shot . , is situated i the iddle. It is a . se o d lo g take he e Maiss at hes the slides of Ali a, he hus a d a d he lo e , hi h is a othe tu i g poi t of the il . The se o d lo gest take of the de elop e t is at the e d, hi h e a o ega d as a pate i ha i g the lo gest takes ith the ost ele a t sto i fo aio at the e d of the a t. I this se o d lo gest shot, hi h lasts fo . se o ds, the se o d eei g et ee Maiss a d Ale ei takes pla e, a d Ale ei suggests that Maiss sta s out of all this. But, as this a t a tuall o sists of lo g shots as e io ed a o e a d e sho t o es . se o ds; . se o ds , the t e dli e e pe ie es uite a ha sh ise follo ed a si ila sudde fall. The li a sets i at the th i ute a d e ds at the th i ute. Although it lasts fo t el e i utes, it a tuall o sists of o l th ee shots. The e pla aio fo this pe ulia it is fou ded i the elaio ship et ee the shot le gth a d the i po ta e of the a ai e i fo aio i it. Na el , the li a o tai s the se o d lo gest take of the il , hi h also fo s a alle i the Ci e et i s g aph of the il . Thus, as as the ase i all the p e ious a ts of this il , the ost i po ta t sto i fo aio is staged usi g a e te si el lo g take – it is the eei g of Maiss a d Ale ei i a a , he e Maiss, ith his i dis eet e a ks, d i es Ale ei to o it sui ide. I this pa t the lo gest shot is situated at the eak. As e a see, Ja es Cui g’s o igi al thesis that the lo gest shots take pla e ea the a t eaks ote holds t uth i this il , ut it a ot e used as a ge e alizaio fo all the slo i e a e a ples he ei . The losi g pa t of the il is a epilogue that agai fo s a sepa ate a t. I Fallen, the epilogue sta ts i the th i ute of the il a d e ds i its d i ute. “i ila l as i Goodbye, Dragon Inn a d Li erpool, the epilogue has a dife e t edii g pate tha the est of the il . F o III. Staisical Style Analysis 190 the shots ithi this pa t, u fo a out a i ute ea h, so that this pa t o a e age is ut faste tha the est of the il . But, like i al ost all the othe a ts of the il , the last shot of the epilogue is the lo gest shot of the pa t a d o tai s the ost i po ta t a ai e i fo aio . Na el , Maiss it esses ho Ali a etu s to he fa il a d that tu s the hole sto upside do . The thesis he e a out the a ai e of Fallen is that e a dis e a pa a et i a aio of a eak o de , a d the staisi al st le a al sis deli e s p oof fo that. I the p e ious hapte it as stated that e a ot speak of st o g pa a et i a aio i Fallen e ause episodes he e st le as dé o p e ails alte ate ith episodes he e the sto takes o e . No , ate ha i g a al sed the il ith Ci e et i s a d o e ted these esults ith the a ai e a al sis of the il , it e o es lea that the episodes he e the st le p e ails a e the o es ith the lo gest shot le gth a d ith the ost i po ta t a ai e i fo aio . Thus, the e te ded lo g takes i this pa i ula il a e ot the e just fo st les sake, ut pa allel to de o st ai g the di e to ’s st le the e eal i po ta t sto details. I o pa iso , sho te takes a tuall se e to help to esta lish a ai e ohe e e et ee the episodes a d et ee e te ded takes . Fo e a ple, the sho test shot of the il , shot . , hi h lasts fo o l . se o ds, sho s Maiss sp i g o Ale ei i his a d, hi h se es as a e pla aio h oth e eet agai i the e t episode, hi h takes pla e i the a . As poi ted out i a ai e a al sis, the e is a huge dife e e i ho the pa a et i ode of a aio is used i Fallen a d i The Turin Horse – he eas i Fallen e e ou te o l a eak ode of pa a et i a aio , The Turin Horse is a shi i g e a ple of this ode of a t- i e a a aio . It a e stated that although e e ou te the ost i po ta t a ai e details i the lo gest shots a d i o e e ts i the sho test shots, e a sill dete t a pa a ete he e, hi h is ei g a ied. Na el , the al ost stu o use of the lo g shot i episodes that ould e oke i to sho te shots. Thus, i the ase of Fallen e sill ha e a pa a et i a aio , ut of a eake o de , e ause the plot de elop e t is pa tl ied to the stagi g. III. Staisical Style Analysis 191 . Blissfull Yours dir. Api hatpo g Weerasathakul Ve i al Resoluio pi el, height pi els, deg ee of the t e dli e – . A“L . ; edia . , sta da d de iaio . .
I the p e iousl outli ed a ai e o ga izaio i Api hatpo g Wee asathakul’s Blissfully Yours, the il o sists of i e pa ts: the setup i utes - , the o pli ai g a io i utes - , the de elop e t i utes - , the li a i utes - a d the epilogue i utes - . As the Ci e et i ’s diag a de o st ates, i this il too the i st shot is a e t e el lo g o e . se o ds , thus de la i g the a isi alues of the il ake . But i this il , as e io ed a o e, a episode is ade up of se e al shots a d ot just o e, as it as the ase in The Turi Horse, Li erpool a d ote i Fallen. The t o lo gest shots of this a t a e situated ight at the egi i g of the il , a d fo pa t of the i st episode of Blissfully Yours. With the e epio of shot . , hi h takes pla e o the st eet as Roo g is at hi g a ta i, the othe i e shots isualize the episode at the hospital as O is t i g to get a health e ii ate fo Mi . Du i g the ou se of the setup, sho te shots alte ate ith le gthie o es. As is usual i il g a a , lose-ups a e ostl sho te fo e a ple, shot , , BCU, hi h lasts fo se o ds , hile all the othe e te ded shots i this pa t a e il ed usi g ediu lo g shots . , . se o ds , ediu lose-ups . , . se o ds , o lo g shots the luste of shots . , . se o ds; . , . se o ds; . , . se o ds . This is the o l il hose shot s ale ould e easu ed usi g Ci e et i s, e ause Blissfully Yours o sists of stai takes. The efo e, the shot s ale is also e io ed he e.
60� Measured by Elīna Reitere, entry of the iilm lm into Cinemetrics available at http://www.cinemetrichttp://www.cinemetrics.lvs.lv/movie./movie. php?movie_ID=12340 (Accessed 14.05.2013). III. Staisical Style Analysis 192 No p efe e es a e dis e ed i te s of the a ai e o te t of the shots a d thei le gth. “o, if the le gth of the i st shot a e e plai ed as the st lisi de la aio of the di e to , the o elaio et ee a ai e i po ta e a d shot le gth a e ade out fo the othe le gth shots. Fo e a ple, i shot . , hi h lasts fo . se o ds a d is o e of the lo gest i the a t, e see ho O a d Mi oa d a a , she u s his old ski a d applies a ea o his a . This shot is ot a o e i po ta t tha othe s i te s of a ai e de elop e t. I o pa iso , shot . . se o ds , hi h is of si ila le gth a d si ks out of the o e all pate of the setup, depi ts a a ai el fa o e i po ta t s e e – O e plai s to “i ote that the do to did ’t a t to issue a health e ii ate fo Mi , a d O e p esses the ish to ha e a othe hild. F o the poi t of ie of a ai e o st u io , e e ei e so e i fo aio i this shot that helps us to ie the il ’s ha a te s as ulifa eted ith a kg ou d sto ies. A othe lo k of the lo gest shots i this pa t of the il a e the a o e- e io ed shots . , a d . The i st is Roo g’s talk ith he oss a out gei g the ate oo of, hi h is the poi t i the sto that ope s oo fo Roo g a d Mi to go to the ou t side. “hot . sho s Roo g gei g the oto ike ead fo the depa tu e. But i shot . e see Mi talki g to the se u it gua ds of the fa to , ithout k o i g hat the a e talki g a out. “o, it see s that i this il e a also dete t te de ies ha a te isi to a t i e a: these a e shots of a o side a le le gth, ut i thei a ai e o te t the do ot dis lose a i po ta t situaio s. As e plai ed i the a ai e a al sis of the il , the e i e o pli ai g a io a e e itled pasto al , e ause it depi ts Mi a d Roo g goi g th ough the ju gle a d ha i g a pi i o a lif. At the egi i g of this pa t e i d o e lo g take, hi h, alo g ith se e al eigh ou i g shots, sho s the ha a te s o i g th ough the ju gle. The e a e le gth shots agai at the e d of the a t i hi h e see the ouple pi i ki g, alki g a d eai g e ies. The ost i po ta t is shot . , hi h lasts fo . se o ds a d e eals Mi ’s i e dialogue a out ho Roo g taught hi Thai. The lo gest takes i this il a se e oth pu poses: o o e ha d the a e used fo isualizi g i po ta t sto i fo aio , a d o the othe ha d the a si pl e deplo ed to illust ate a e tai at osphe e, as it is the ase ith the alk a d pi i i the ju gle. Thus, Blissfully Yours a ot e dei ed as pu el pa a et i , he ei the st le of the il is di o ed f o the a ai e o te t of the shots. The dist i uio of the le gth shots te ds to suppo t Ja es Cui g’s o igi al thesis that a a t egi s a d e ds ith lo ge shots, e ause the lo gest o es a e situated ea the egi i g a d the e d of the a t eaks. The de elop e t depi ts the e pli it s e e i the ju gle et ee O a d he lo e . What is st iki g f o the diag a is the fa t that o l th ee dife e t shot s ales a e used fo the il ’s isual soluio : the lose-up, the ediu lose-up a d the lo g shot. No ule a e disi guished et ee the le gth of the lose-ups a d lo g shots, ut the ediu lose-ups te d to e lo ge . III. Staisical Style Analysis 193 The li a depi ts the ha a te s athi g i the i e a d s oozi g ate a ds. As as the ase ith the episode that depi ted the ouple’s alk th ough the ju gle, these episodes a e also staged usi g a shots. As the shot t a siio is e s ooth though, the p oposal put fo th he ei is that i this ase the shots see lo ge tha the eall a e. This fa t helps to foste the i p essio that this pa t of the il is e slo , although the Ci e et i s’ g aph de o st ates se e al peaks a d lo s o e the ou se of the a t. The lo gest shot of the a t o es at its e d. It is shot . , a lose-up that lasts fo se o ds, a d sho s Roo g pla i g ith Mi ’s pe is. A o di g to il g a a , it is uite u usual that a shot like this is of su h a lo g du aio . If e look at the e i e g aph, the e see s to e a pate of shot le gths i this il . Na el , it sta ts a d e ds ith u usuall lo g shots hi h fa e te d the a e age shot le gth. Addiio all , i the iddle of the il e e ou te o pa a l lo g shots the o pli ai g a io Pasto al , hi h i this ase see to deli e a aesu a ot o l i a ai e te s the o pli ai g a io as a passage f o it life to the ju gle , ut also i te s of shot du aio . As e io ed, i Blissfully Yours e e ou te a pe ulia situaio he ei the ie e pe ei es the shots to e lo ge tha the a tuall a e. “i ila l as i Li erpool, ith a plot di ided et ee the it a d a s all illage, a d shot le gths o espo di g to fast it life s. the pea eful pa e of the ou t side, su h a te de a also e ade out i Blissfully Yours. Na el , he the a ai e lea es the it ehi d the Ci e et i s g aph sho s o e du aio al takes. As is the ase ith all the othe e a ples, the epilogue also fo s a sepa ate pa t, although a e sho t o e. These th ee shots, si ila to the othe e a ples, dife f o the est of the il . T o of the shots a e i te p eted as Roo g’s poi t-of- ie shots, ut the last shot sho s he looki g di e tl i to the a e a. Fo the i st i e i the il the a e a a d the a ai e o e lose to Roo g’s i e life a d he feeli gs. This epilogue ould also e a egi i g of a e plot li e if it as ot the e d of the il . As o o elaio et ee the le gth of the take a d its a ai e o te t a e ade out i Blissfully Yours – it see s totall a it a – this leads to the o lusio that Api hatpo g’s il a also e dee ed a e a ple of pa a et i i e a. III. Staisical Style Analysis 194 6. Colossal Youth dir. Pedro Costa, Ve i al esoluio pi el, height pi els, deg ee of the t e dli e – . A“L – . se o ds, edia – . se o ds, sta da d de iaio . .
A o lusio i the a ai e a al sis of the il Colossal Youth stated that the fou -a t s he e o pletel eaks do , a d e e ou te the f ag e izaio of the a ai e i to dife e t the es. I te s of slo i e a the i te est lies i the il ’s lo gest takes a d thei a ai e o te t, a d pe haps this a se e as a poi t of depa tu e i e og izi g a st u tu al pate i the il . Most of the lo gest takes i the il a e luste ed i Va da’s lat shot . , . se o ds; . , . se o ds; . , . se o ds; . , . se o ds , ith the e epio of shot . . se o ds , hi h takes pla e i the hospital he e a ill Paulo is talki g a out his ishes. The s e es ith Va da a e staged i e lo g shots, the sho test ei g shot . . se o ds , hi h, i te s of Colossal Youth, is a o g the le gthie takes of the il . Thus, the il ake ’s a isi st ateg see s to depi t Va da a d he sto ies i li ge i g takes.
608 Entry of the iilm lm into Cinemetrics: http://www.cinemetrics.lv/movie.php?movie_ID=�909�nogo36 (Accessed 25.05.2013). In this case, the measurement of the ilm done by Adrian Tomas �amit was used. III. Staisical Style Analysis 195 All of these lo g takes a e lo g shots i thei shot s ale, a d the sho test takes ai l illust ate Ve tu a’s o i gs a d goi gs th ough Fo tai has o i the e dist i t of Casa al Bo a o e ote il ed usi g ediu -le gth shots o less . Thus, the la ge-s ale shots ote last lo ge o s ee i o pa iso to s alle s ale shots that ha e a sho te du aio . I this espe t Colossal Youth si ks to the t adiio al ules of il g a a . The the e, hi h is esol ed i o pa a l sho t shots, is the episode i the a t useu a d Ve tu a’s sto a out his a ide t du i g the o st u io of the useu . - . . The fa t that se e al the es a e depi ted i a igo ous a e Va da, i e te si el lo g takes, the useu episode i sho t takes, the lo g takes o a la ge s ale, the sho t takes o a s all s ale suggests that i Colossal Youth fo follo s fu io , though su el this sa i g a ot e u de stood i the sa e a as i a ai st ea il . As e io ed i the hapte a out the a ai e o st u io of slo i e a, Ped o Costa is a polii al il ake ho a ts to depi t Fo tai has a d its i ha ita ts i a a est suited to its people. I Costa’s opi io , this happe s to e the lo g shot a d the lo g take. At the sa e i e e sill ha e a a u da e of shots of see i gl a it a du aio . Fo e a ple, the a the il ake depi ts the dialogue et ee Ve tu a a d Le to, o Ve tu a’s eei gs ith the go e e t oi ial, o se e al shots i the slu . All of these a isi de isio s ade Costa a e jusiied ith his ish to do jusi e to the eigh ou hood, so that e e shot is oth a polii al state e t a d also a a isi o e. I aesthei te s Costa follo s the sa e a isi age da as the othe slo i e a il ake s – lo g shots he e othi g happe s , ut the a kg ou d fo his deeds is o pletel dife e t. This issue as dealt ith i the a ai e a al sis of the il . The esults of the plot a al sis a ui e a o e ei ed jusii aio if li ked to the esults of the staisi al st le a al sis. A d i e e sa – if the il ’s i age i Ci e et i s ese les the othe slo i e a e a ples ith its e te si el la ge a ge of . se o ds, the it is o l th ough a ai e a al sis, hi h u de li es the il ake ’s sig atu e as a polii al state e t, that Ped o Costa’s e epio al pla e ithi the o te po a i e a la ds ape a e la iied. With this a kg ou d k o ledge Costa’s stagi g st ateg is jusiied a d does ot see to e totall a it a , as o e ight ha e o luded f o the a ai e a al sis of the il . Cu iousl though, if i te s of st u tu al a al sisColossal Youth see ed to e a highl pe ulia il , the ith the staisi al i fo aio i i d, the il a e i te p eted as a o e lassi al e a ple he e st le follo s fu io . But, i o de to a i e at this o lusio , e eed oth – the a ai e / st u tu al a d the staisi al a al ses as the suppo t ea h othe . Fi all , it’s te pi g to state that it’s possi le to dete t hethe a il elo gs to slo i e a o ot f o the ph si al i age of the shot le gths. As e io ed a o e, the slo i e a g aphs ese le those of othe il s th oughout il histo that ha e used lo g takes a d a la ge shot a ge. But a o pa iso of the A“L, a pa a ete f o the staisi al st le a al sis that has ot et ee used, et ee the il s a possi l deli e a dei ite a s e o ho to e og ize slo i e a ith the help of il staisi s. III. Staisical Style Analysis 196 . Where does slo i e a egi ? As Ba “alt has o se ed, o e the ou se of i e the ui g ates i A e i a i e a ha e i eased. Bet ee a d the A“L a e aged se o ds, hile i - it ea hed se o ds. It’s te pi g to seek the A“L of slo i e a as ell. “alt e plai s that fo A e i a il s ade ate , the A“L of se o ds is the igu e ith hi h a t il s sta t. As slo i e a o situtes a a h of a t i e a, it see s likel that the a solute igu es of the A“L of slo i e a lie fa e o d the e io ed se o ds. The ase e a ples he ei , if listed a o di g to thei shot le gths, look like this: Blissfully Yours – . se o ds, Goodbye, Dragon Inn – se o ds, Li erpool – . se o ds, Colossal Youth – . se o ds, Fallen – . se o ds, The Turin Horse – . se o ds. The A“L of slo i e a e a ples that Mathe Fla aga , ho is u e tl the ost i lue ial autho it o uesio s o e i g this il o e e t, listed as a guideli e i look e si ila . His e a ples e e: Ca los Re gado’s Sile t Light ith . se o ds, Al e t “e a’s Ho or de Ca alleria ith . se o ds, Gus Va “a t’s Gerry ith . se o ds, Hou Hsiao-hsie ’s Caf Lu i re ith . se o ds, Paz E i a’s Ha a a Paragua a ith . se o ds, Bela Ta ’s Sátántangó ith . se o ds, a d A as Kia osta i’s Fi e: 5 Lo g Takes Dedi ated to Yasujiro Ozu ith a . se o ds A“L.611 Thus, although he e io s se e al othe il ake s tha this stud does, these a e sill the usual suspe ts that a e al a s o e ted to slo i e a. It see s that i slo i e a e a take a A“L of se o ds as the di idi g li e, ith the othe e d of the easu e e ts let ope . I a ase, Bela Ta sta ds at the fa e d of the list, hi h ould e e plai ed his e epio al st le ot o l i te s of a t i e a, ut also ithi the f a e o k of slo i e a. The a e age shot easu es fo slo i e a see s to lie so e he e et ee a d se o ds. These o side aio s a e suppo ted a o e detailed look at the A“L th oughout the il og aphies of the il ake s i uesio . Fo e a ple, Api hatpo g Wee asathakul ai l o ks ith a A“L a litle a o e se o ds Blissfully Yours, – . se o ds; Syndromes and a Century, – . se o ds; U le Bo ee Who Ca ‘e all His Past Li es, - . se o ds , the o l e epio ei g the il Tropi al Malad ith o l . se o ds.612 I o pa iso , Lisa d o Alo so uses a a e age le gth of a ou d se o ds: La Li ertad, – . se o ds; Los Muertos, – . se o ds; Fantasma, – . se o ds; Li erpool, – . se o ds. Not su p isi gl , the e also a e il ake s ho o k ith a i g A“Ls. Tsai Mi g-Lia g a d Hou Hsiou-Hsie a e e a ples. Although Tsai Mi g-Lia g’s a e age le gths a o side a l , he si ks to the A“Ls of slo i e a that a e et ee a d se o ds. His de ut il ,
609 Barry Salt The Shape of 1999.The Stylistics of American Movies at the End of the Century in Barry Salt Moving Into Pictures. More on Film History, Style, and Analysis, London, 2006, p. 332. 610BarryBarry Salt The Shape of 1999.The Stylistics of American Movies at the End of the Century in Barry Salt Moving Into Pictures. More on Film History, Style, and Analysis, London, 2006, p. 334. 611 Matthew Flanagan Towards an Aesthetic of Slow in Contemporary Cinema. in 16:9, 29, 2008, available at http://www.16-9.dk/2008-11/side11_inenglish.htm (Accessed 24.06.2013). 612 All the data was taken from the Cinemetrics database. III. Staisical Style Analysis 197 Rebels of the Neon God ith a o l . se o ds A“L is a e epio . His su se ue t il o i ue like this: Vi re l´a our, – se o ds613; The ‘i er, – . se o ds; The Hole, – se o ds; What Time Is It There?, – . se o ds; Goodbye, Dragon Inn, – se o ds; The Wayward Cloud, – . se o ds; I Do t Wa t to Sleep Alo e , – . se o ds; a d Fa e, – . se o ds. Ate lisi g the A“L f o o e slo i e a il s e get a igge pi tu e. Agai , Bela Ta ’s e epio al posiio a e u de li ed. Na el , his a isi st ateg th oughout his latest o k is to use e essi e A“L: Da aio , – . se o ds; Satantango, – . se o ds; Wer k eister Har o ies, – . se o ds; The Ma fro Lo do , – . se o ds; a d The Turin Horse, – . se o ds.614 O iousl the il ake s ho, a o di g to il ii s, elo g to slo i e a use this st lisi pate steadil . But hethe e a e deali g ith pa a et i i e a has to e o side ed o a ase- - ase asis. As this hapte de o st ated, that a ot e o luded solel f o staisi al a al sis. While Ci e et i s helps to dete t the shot le gths, e te si e du aio alo e a ot lead us to o lusio s a out the atu e of the a ai e. I the ase of pa a et i t the u ial uesio is – he is a lo g shot just a lo g shot that is o e ha a te isi to a t i e a if used i depe de tl f o plot eeds, a d he is it a s ste ai st lisi st ateg . Da id Bo d ell o pli ates the dei iio of pa a et i ode e e o e he he a k o ledges that the e a e t o possi le pa a et i a ai e st ategies. Whe eas the i st o e uses o l a a o a ge of st lisi possi iliies at ha d, the se o d st ateg e ploits a ide a ge of pa adig ai p o edu es .615 This stud suggests that the o lusio , he deali g ith pa a et i it , a o l e ade he the esults of the a ai e a al sis a d the Ci e et i s data a e o e ted i a a eful a al sis of a il ’s stagi g as it is do e i the p ese t hapte . At this poi t, o e i po ta t e a k has to e ade. Na el , Ma k Betz, ho is o e of the a e il s hola s to tou h upo the issue of pa a et i a ai e, a gues that pa a et i i e a is a te that has to e applied to a ide a ge of il ake s a d il s, e ause it is the fo i hi h the ode is of the s a d s o i ues to i lue e il ultu e fa e o d Eu ope.616 The esea h he e sho s that e a ot use su h s eepi g o lusio s. I the ase of pa a et i i e a e ha e to o k o a ase- - ase asis. The e is a othe pa a ete dete ted Ci e et i s that as iel tou hed upo at the egi i g of the hapte . Na el , the a ge of the shot le gths. This igu e de o st ates the a ge of the shots i a il , a d the st iki g o lusio s a e t ofold. Fi st of all, slo il s o tai e sho t se e al se o d shots as ell, though the ie e s o l e e e the e e te ded shots. “e o dl , these a ges a e si ila to a t il s, egi i g ith those f o the
613 �ith the exception of the iilms lms Vivre l´amour and The Hole, for which data was taken from David Bordwell Figures Traced in Light: On Cinematic Staging, Berkeley, 2005, p. 156, all the other data was obtained through Cinemetrics. 614 All the data from the Cinemetrics database. 615 David Bordwell Narration in the Fiction Film, 1985, p. 285. 616 Mark Bet� Beyond Europe: On Parametric Transcendence in Rosalind Galt, Karl �choonover (eds.) Global Art Cinema. New Theories and Histories, New York, 2010, p. 40, 44. III. Staisical Style Analysis 198 s. Fo o pa iso , the alues of the slo i e a e a ples f o this stud a e as follo s: Goodbye, Dragon Inn – . se o ds;Li erpool – . se o ds;Fallen - . se o ds; The Turin Horse – . se o ds; Blissfully Yours – . se o ds; a d Colossal Youth – . se o ds. As usual, these igu es a ui e ea i g o l if elated to ou te -e a ples – a el , ai st ea Holl ood il s ha e a e sho t A“L. The Bour e Uli atu has a a ge of shot le gths of . se o ds A“L – . se o ds , utThe Bour e Supre a – . se o ds A“L – . se o ds . Although it does ’t see easo a le to ate pt to dei e a shot a ge e h a k that ould ha a te ize slo i e a, it a e stated that the shot a ge ill also e of a o side a le size i slo i e a as oth alues i te a t ith ea h othe . It is e e o e useless to t to set a di idi g li e fo the a ge alues as the fu io o l i o e io ith a la ge A“L. Fo e a ple, the il Mouli ‘ouge di . Baz Luh a , has uite a la ge shot a ge of . se o ds, ut its A“L ea hes o l . se o ds!617 Fi all , the a ge data pi tu e ould ot e o plete if Eu opea a t i e a data as issi g. Fla aga , i his thesis Slo Ci e a : Te poralit a d St le i Co te porar Art a d E peri e tal Fil , dis o e ed the oots of this il st le i post WWII a t i e a a d i the e pe i e tal i e a of the s.618 I te esi gl e ough, the staisi al alues of the il s of these a t house il ake s ho Fla aga ites as p ede esso s – Ca l Theodo D e e , Mi hela gelo A to io i a d A d ei Ta ko sk 619 – look si ila to slo i e a g aphs. Fo e a ple, Ordet D e e has a a e age shot le gth of . se o ds a d a a ge of . se o ds. A to io i’s La sig ora se za a elie has a A“L of . se o ds, ut a a ge of . se o ds621 a d Sa rii e Ta ko sk has a A“L of . se o ds a d a shot a ge of . se o ds.622 Thus, si ila iies a e u o e ed ith the help of staisi al st le a al sis. . Su ar of staisi al a al sis Although a t i e a is u de stood as a e p essio of u i ue a isi isio a d thus it see ed hopeless at the egi i g to t to i d egula iies i the staisi al easu e e ts of these il s, so e egula iies a e dete ted. The i st o lusio is that i slo i e a, like i the ai st ea p odu io s, the il s egi ith lo ge shots, hi h, i the ase of slo i e a, see s to e a de la aio of the
61� http://www.cinemetrics.lv/movie.php?movie_ID=9913 (Accessed 26.06.2013), measured by Charles O�Brien. 618 Michael Pattison AV Festival: Slow Cinema Weekend, Part I – Panel Discussion in Front Row Reviews, 12.03.2012 available at http://www.frontrowreviews.co.uk/ilm_events/av-festival-slow-cinema-weekend-part-1- panel-discussion/14998 (Accessed 26.06.2013). 619 Matthew Flanagan ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, University of Exeter, 2012, p. 11, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 620 http://www.cinemetrics.lv/movie.php?movie_ID=8999, measured by Barry �alt (Accessed 26.06. 2013). 621 http://www.cinemetrics.lv/movie.php?movie_ID=540, measured by Yuri Tsivian (Accessed 26.06.2013). 622 http://www.cinemetrics.lv/movie.php?movie_ID=8598, measured by Mohsen Nasrin (Accessed 26.06. 2013). III. Staisical Style Analysis 199 il ake ’s a isi isio athe tha a a ai e e essit . “e o dl , although Ja es Cui g’s thesis de la ed that shots te d to e sho te to a ds the iddle of the pa t holds t ue o l fo the li a , the e a ples he ei te d to sho the o lusio that ote i slo i e a – ho e e , ot al a s – the lo gest shots a e fou d ea the pa t eaks. O e of the lo gest shots i a gi e pa t is ostl situated to a ds the e d of the se io Goodbye, Dragon Inn - o pli ai g a io , de elop e t, li a ; Li erpool – setup, de elop e t, li a ; Fallen - o pli ai g a io , de elop e t, li a , epilogue; Blissfully Yours – o pli ai g a io , li a . I the e ised e sio of his i di gs, Cui g st essed that shot le gths i ease at the e d, likel du i g the epilogue.623 This stud ’s a al sis a o l o i this fa t. Thus, o e i g the i st a d last takes of a il , oth – a sta da d ai st ea p odu io as ell as a slo il – use lo ge shots, although, he e p essed i a solute le gths the ill dife o side a l .
623 James E. Cutting, Kaitlin L. Brunick, Jordan E. Delong On Shot Lengths and Film Acts: A Revised View in Projections Vol.6, Nr. 1, 2012, p. 114. IV. Conclusion 200 IV. Conclusion
Fil ake B la Ta e p essed a o i io that e e thi g a fo a sto .624 It is a pe ulia de la aio if e take i to a ou t that i il studies a d i the i ds of i e a-goe s alike, the e is a huge dife e e et ee ai st ea i e a a d the e e ts su h il s hoose to tell sa i g the o ld, falli g i lo e, u o e i g i e , a d those usuall su su ed u de the oio of st a ge, pe ulia ultu al egeta les su h as a t i e a i ge e al o slo i e a i pa i ula . This stud set out to s ui ize the a aio of slo i e a looki g at hethe the fou a t s he e, as de eloped K isi Tho pso , a e applied to the slo i e a o e e t that is at the l hpi of this p oje t.
A t igge fo the p eo upaio ith the a t st u tu e i slo i e a o tai ed he ei e e t o e a ks of Tho pso . Fi st of all, he spe ulaio that the - to - i ute a ge, hi h lies at hea t of the a t odel, ight o espo d to the ate io spa of the spe tato .625 “e o dl , that pe epio fo a t st u tu es i il s a e a ui ed o e the ea s the audie e i a u ulai g i e ai e pe ie es.626 As this p oje t de o st ated, the assu pio that the a t st u tu e should also hold t ue i the ase of slo i e a, tu ed out to e o l pa tl o e t. Na el , the i t odu to pa t i slo il s the setup te ds to e lo ge tha usual - i utes. It a e e e the lo gest pa t of all a ts. Altogethe , it ould ot e o i ed that a ts ha e si ila le gths i slo il s. Ho e e , the a t st u tu e a e ade out i slo i e a as ell, although hat dife e iates this i e ai o e e t f o the ai st ea is the ha ged atu e of the lassi al a ai e de i es. Fu the o e, a ha a te ’s goals a e de isi e fo the uildi g of a ause-a d-efe t hai . I slo i e a the e ai u lea o ha ge ithout fu the oi aio . Blissfully Yours, fo e a ple, dis loses a st u tu e hi h is si pl a alig e t of episodes, ut the sto ’s fo a d i petus o es f o the p i ipal ha a te s t a elli g a oss the it a d to the ju gle.
The u iied a ai es so ha a te isi of Holl ood a e sit hed togethe da gli g auses that i slo i e a ote tu out to e a o g path a d thus lead to othi g. Tho pso jusiies the eaks et ee the pa ts ith a shit i the ha a te ’s goals.627 As e dis o e ed, i slo i e a a ai es the goals sta a iguous a d thus a ot e take as sta da d. I stead, the so alled tu i g poi ts a ote e fou d ithi the a isi desig – u usual ui g pate s, losed s. ope spa es, e a ka le a e a o e e ts, isual ju taposiio s, ha ge of at osphe e et . He e, slo il s sill ha e a a t st u tu e, al eit o e that efuses
624 Virginie Sülavy The Turin Horse: Interview with Béla Tarr in Electric Sheep Magazine: a deviant View of Cinema, 4.06.2012. available at http://www.electricsheepmagazine.co.uk/features/2012/06/04/the-turin-horse- interview-with-bela-tarr/ (Accessed 2.02. 2014). 625 Kristin Thompson Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999, p. 43. 626 Ibid., p. 22. 627 Kristin Thompson Storytelling in the New Hollywood. Understanding Classical Narrative Technique, Cambridge, Mass., 1999, p. 27. IV. Conclusion 201 to appl the lassi al a ai e de i es. Whole pa ts of the il a e st u tu ed a ou d o e pa i ula ood ithout o tai i g a i po ta t a ai e de elop e ts. The efo e Ta ’s state e t that e e thi g a e tu ed i to a sto , if at i st dou ful, ould e t ue. A d, se o dl , the a t s he e a e ega ded as a u i e sal a ai e odel that applies ot o l to ai st ea il s.
Ho e e , the assess e t of the a t st u tu e i slo i e a is o l a sta i g poi t fo this p oje t. Fo a st u tu e ields e tai efe ts, a d the a aio i a il is o ga ized i o de to p odu e su h efe ts fo the audie e.
The guidi g li e a e f o a fu io alist pe spe i e o il a ai e a d the efe ts it ge e ates. As Mei “te e g stated: the e a e o fo s e ept i te s of fu io s, that is, he ou look at the te t, hat ou u de sta d the te t to e doi g dete i es the fo s that ou see. Fo s do ot e ist a he e, e ept i the i d that akes fu io al se se of dis ou se. 628
A il ’s ost o o fu io is to tell the audie e a sto , so that ost i e a ate dees a ait p e isel this. I o de to e a i e this p o ess of o u i aio – the il s ee i g a e ega ded as su h – the Rele a e theo , de eloped Dei d e Wilso a d Da “pe e , as hose as a app oa h fo s ui izi g the a i hi h the ie e assess i po ta e to the i ages p ese ted o s ee . Although this theo has ee de eloped i ega d to e e da o u i aio , it a e ell e applied to the o p ehe sio p o ess of a t, e ause i o de to ake se se of a t o ks e use the sa e og ii e a d o u i ai e a iliies. E e o e, the p o ess of e pe ie i g il , as Bo d ell suggests, is est des i ed as o e ge t i fe e e aki g, he e the il ake desig s the il i a a that ields e tai ea io s f o the ie e , a d that these ea io s a e o e o less fo esee the il ake .629 This ie se es as a p oof that the Rele a e theo is the ight app oa h to hoose, e ause Wilso & “pe e also u de li e that the app oa h the de eloped is ased o i fe e e aki g as a odel of o u i aio .
I assessi g o e a d o e ase e a ples of du aio al i e a fo the pu poses of this p oje t, the oio of eak i pli atu es, as de eloped Wilso a d “pe e , a ui ed i easi g i po ta e fo odelli g the o p ehe sio heu isi s. Whe eas the autho of the ute a e is i ha ge of ge e ai g st o g i pli atu es, the espo si ilit fo eai g eak i pli atu es lies o pletel ith the ie e . The uotaio s a d state e ts of the il ake s ited th oughout the il a al sis a out h this o that e e t o detail appea s i the plot, de o st ated that slo i e a di e to s ote do ot ha e a p ope e pla aio fo hat the
628 Meir Sternberg Reconceptualizing narratology. Arguments for a Functionalist and Constructivist Approach to Narrative in Enthymema, Issue IV 2011, p. 41. 629 David Bordwell Three Dimensions of Film Narrative in David Bordwell Poetics of Cinema, New York, 2008, p. 124. 630 Dan Sperber, Deidre Wilson Relevance. Communication and Cognition, 2ed edition, Oxford, 1995, p. ? IV. Conclusion 202 depi t – as e a o lude f o Lisa d o Alo so’s aitude o the efe e e to the sa ill o the ke hai i his il Liverpool. Thus, i slo il s e e ou te a pe ulia situaio he e the autho s a e espo si le fo the o e all desig of the ute a e il , ithout pa i ula e pla aio s fo thei a isi hoi es. Co se ue tl e a o lude that slo i e a is a ase of eak o u i aio , e ause the o u i ai e a ts i slo i e a a e do i ated eak i pli atu es. E e o e, as o luded i the a al sis of the il s Liverpool and Colossal Youth, at a e tai poi t e a i e at the li its of eak i pli atu es, e ause the il ake ’s i te io s e ai i a essi le to the ie e . If i Liverpool these e e the efe e es to the sa ill a d the ke hai , the i Colossal Youth it is the i po ta e of the sto as su h. I te s of the Rele a e theo , eak o u i aio is sill pa t of the theo , hi h i plies that the autho a ha e so eho fo esee o a k o ledged the i fe e es ade the add essee. This issue see s to pose a p o le e e fo Wilso . “he a k o ledges that the ele a e-theo ei o p ehe sio heu isi is ot a dis o e p o edu e desig ed to take a te t o ute a e as i put a d ield a i te p etaio i hi h all a iguiies o i dete i a ies a e esol ed i the a the i te ded a d fu the : the o u i ato ’s i fo ai e a d o u i ai e i te io s a ot e de oded, ut o l o -de o st ai el i fe ed, so that o p ehe sio e essa il takes pla e at a isk. But she does ot a k o ledge that the e a e a ield e o d the Rele a e theo .
“he also tu s ou ate io to the fa t that, as the Rele a e theo ei a ou t de o st ates, o u i aio is ot a es- o ate , ut athe a ate of deg ee fo hi h the dife e iaio et ee st o g a d eak o u i aio is de isi e. I slo il s the zo es of i dete i a ies fo hi h o l the ie e ’s i te p etaio is ital, appea to e sta da d. The efo e Wilso ’s o i io that the autho a d the eade ha e a sha ed espo si ilit fo e e ute a e, a d that thus e e ute a e a e i o po ated a d e plai ed i te s of the Rele a e theo , at least i the ase of slo i e a, is efuted. The li guist Bill Cla k ightl st esses the dife e e et ee i pli atu es a d i pli aio s. Whe eas i pli atu es a e the i te p etaio s that the autho i te ded to o e , e e i pli aio s a e ot o siste t ith the P i iple of Rele a e e ause the do ot o e f o the te t at all. “e e al s e es i slo i e a a e i ested ith su h u i te ded ea i g, ut the ost i p essi e e a ple is the episode f o The Turin Horse he ei Ohlsdo fe a d his daughte go e o d the ho izo a d the etu so e i utes late , ut the e is o e ide e i the il fo ho this s e e should e i te p eted. We a the efo e o side su h episodes as ases of i pli aio s. A d so, the il ’s a ai e st u tu e is de isi e fo the de isio o hat a e ega ded as i pli atu es o i pli aio s.
631 Deirdre Wilson Relevance and the interpretation of literary works in Ye Tian (ed.) Working Papers in Linguistics, Vol. 23, 2011, London’s Global University, available at http://www.ucl.ac.uk/psychlangsci/research/ linguistics/publications/wpl/11papers/Wilson2011 (Accessed 20.05.2014). 632 Billy Clark Stylistic analysis and relevance theory in Language and Literature, 1996, Vol. 5, p. 170. IV. Conclusion 203 At the o e of the a gu e t th oughout the p oje t lies the lai that the o st u io of the ute a e, o , i this ase, of a il ’s plot, is agiste ial fo assessi g ele a e to it. As hoped to de o st ate, the oio s of tella ilit as a ualitai e featu e fo a e e t pe se a d a ai it as a ualitai e p ope t of plot o ga izaio a e the o epts that shed light o this ate . The hose ase e a ples displa a ide a ge of possi iliies of ho the elaio s et ee these t o o epts a e shaped. I Fallen oth the e e ts su ou di g the alleged sui ide of Ali a a d Maiss’ sea h fo a e pla aio fo he a io s a tuall fo a ell- ade sto . F o this poi t of ie , st et hes of Fallen a e ega ded as a ase of st o g o u i aio , i ed ith pe iods of eak o u i aio fo e a ple, a easo fo Ale ei’s sui ide .
Goodbye, Dragon Inn, i tu , displa s episodes ith a lo le el of tella ilit su h as the ashie ’s lo g, slo alks th ough the uildi g, alte ai g ith episodes ith a ide a ge of eak i pli aio s to hi h the ie e a assess ele a e a o di g to his le el of k o ledge of Tai a ese il ultu e. The sto u folds a o di g to the p o ess of i e a s ee i g, fo hi h, as e e ie e k o s, the e is a egi i g a d at so e poi t – a e d. Ho e e , as the e e ts a e ot ightl sit hed togethe , the deg ee of a ai it i this ase te ds to e lo e tha i Fallen .
The plot of Liverpool a out a possi l lost so etu i g to his ai e illage a d to his ill othe possesses a huge tella ilit , ho e e , the loose a a ge e t of the e e ts o i ed ith a i i alisi app oa h to stagi g eake its a ai it .
The Turin Horse is a opposite ase he e the e e ts displa i g e lo tella ilit sii g at the i do , doi g lau d a e a a ged alo g the li es of a st i g of da s, a d a thus e situated so e he e i the iddle of a slo a ai it s ale.
With Blissfully Yours e a i e at the fa e d of the tella ilit / a ai it s ale. The e e ts depi ted dis lose lo tella ilit . E e o e, thei a ai e pote ial is e e less e hausted tha i Liverpool. The ause-a d-efe t hai , if e a dete t a i this il , is e loose. As the e e ts do ot de elop out of o e a othe fo the ost pa t, ut follo ea h a othe ith e ague o e io s, the plot de elop e t ese les a agi o . Dife e t s hola s u de li e that the a ai e s he ata a d thus the sea h fo the ause-a d-efe t hai is the ost asi a i it of the audie e. This stud lai s that the easo h il ii s dei e Api hatpo g’s il s – the autho ofBlissfully Yours – as fo e a ple ste ious o je ts , is g ou ded p e isel i this o i io that the ie e al a s has to i d ohe e e et ee all the ha a te s, e e ts a d plot de elop e ts i a il . But i Blissfully Yours, as i so e othe il s, su h a u disputa le ohe e e a o g dife e t pa ts is ’t possi le. “u p isi gl , the o l stud to k o ledge that also t ies to e plai of-Holl ood il s f o the poi t of ie of og iio is Ja es Pete so ’s Dreams of Chaos, Visions of Order: Understanding the American IV. Conclusion 204 Avant-garde Cinema. The stud also i sists o the i po ta e of a i te p etai e s he a fo se se- aki g, fo e e su h o pli ated e a ples as the a a t-ga de. He does ot take a othe possi iliies i to a ou t, hi h a e e plai ed the state of il studies i the i st pa t of the s he the ook as ite , as the i po ta e of the se suous il ie i g e pe ie e, although e all a k o ledged, as ot o o pla e i the dis ipli e. T e t i e ea s late , the situaio is o pletel dife e t as sho i the p ese t stud .
The last e a ple, Colossal Youth, ep ese ts the fu thest e d of the s ale of tella ilit / a ai it . Whe eas i so e episodes s ippets of tella le e e ts a e fou d, the a a ge e t of the s e es is est des i ed as pol h o i a aio – the posiio of the e e ts i the o e all te po al st u tu e e ai s i dete i ate.
All i all, e a o lude that slo i e a is a p i e e a ple of h id a ai it as p oposed the disi guished a atologist Ja es Phela , a d that oth the deg ee of a ai it a d the deg ee of tella ilit has to e pla ed o a ide- a ge spe t u . Clea l the , Ta ’s state e t has to e e o side ed. E e thi g a fo a sto – e e o tai i g e e ts ith a lo le el of tella ilit – if it displa s so e deg ee of a ai it .
I te s of i e a, stagi g also elo gs to the desig of the ute a e. “lo i e a is do i ated stai lo g shots a d e te ded takes. I so e il s, ased o the a ai e o te t of the shot, these takes a e est des i ed as p e- o post-a io lags, i.e., ases he e the a io is al ead o e o has ot et egu , ut the a e a is sill shooi g. T o of the ase e a ples dis ussed he ei e e pla ed ithi the f a e o k of pa a et i i e a. Whe eas Fallen, ith a st o gl - uilt plot o e ted to a stagi g st ateg that is o l di o ed f o its a ai e o te t i so e ases, is a ase of eak pa a et i it , The Turin Horse, he e st le is supe io to sto eeds, ep ese ts a st o g ase of pa a et i i e a.
As st essed agai a d agai th oughout this thesis, i p essi e stagi g desig like those ofe ed Ta a d Kele e a e oste si e si uli i te s of the Rele a e theo - the ie e is e ou aged to fo us ot o l o the plot ut also o the stagi g st le, as ele a e a e atested to it as ell. I su a , he eas the st le i slo il s a displa featu es of st o g o u i aio , e ostl e ou te eak o u i aio o sto le el. The o lusio addiio all ofe s a e fa et o the issue of i te io al falla . Na el , i a al si g a d full u de sta di g the st le of a pa i ula il ake i te s of st o g o u i aio , the e is a e eit to e isii g the autho ’s othe il s. Ho e e , as the st lisi featu es a e st o gl o u i ated the a e o se ed a d u de stood ithout the eed of a supple e ta i fo aio a d self-sui ie t, this i fo aio ould o l ofe a addiio al fa et.
I o pa iso , as the plots i slo il s a e des i ed as h id a ai es ith a st o g te de to a ds eak o u i aio , o e a e te pted to seek i fo aio i the il ake ’s iog aph i o de to i d ohe e e a o gst all of the il ’s ele e ts IV. Conclusion 205 a i izi g a d opi izi g st ategies . But he the ie e is o f o ted ith a slo il hile i a da ke ed i e a ith o e t a- i e ai sou es a aila le, he has to i d a s of o i g to te s ith a slo il . As e plai ed a o e, Wilso st esses that all the ute a es ega dless of eak ess sill fu io ithi the f a e o k of the Rele a e theo , ut Cla k’s o je io is that i pli aio s, i o t ast to i pli atu es, e e ot fo esee the il ake . This thesis lai s that i the ase of du aio al i e a the e a e ple t of o e ts he e the i te p etaio s o a ea io i ge e al the ie e s a at i ute to e tai episodes a ot e fo esee a d al ulated the il ake . A o e all, it o e s the ashie ’s lo g a de i gs th ough the i e a i Goodbye, Dragon Inn, o st olls th ough the ju gle, o d i i g i the a i Blissfully Yours; the sa e applies to the e hausi g du aio of the e e da p o edu es depi ted i The Turin Horse o to se e al of Fa el’s a i iies i Liverpool. Thus, i se e al ases it a e est to use the te i plicaio s. A i te p etaio a ot e fou d fo eithe all of these a i iies o fo the e hausi g du aio of the shots. This led to the o diio al suggesio that i te p etaio as a p o le sol i g st ateg i slo i e a a ot e a ple. I stead, it ust e ega ded as o l o e of the possi iliies fo a audie e st uggli g to ake se se out of the il . This thesis the posed the uesio of hat a e othe st ategies fo o i g to te s ith these il s if i te p etaio as ot sui ie t. Fo that, the suggesio as that afe i e, e oio al a d se so ial e pe ie es a ui e o e a d o e i po ta e. This p oje t po de ed o su h st ategies as the elishi g of the p ese t o e t; o e t aio o the ood of the episodes; odil i ol e e t ith a il su h as i e sio i to the i age a d the fo eg ou di g of its hapi ualiies.
A u h o tested uesio is hethe the ie e ’s ood a d e oio al ea io s a e al a s og ii el oi ated a d ho fa the a e o e ted to a d ge e ated the plot. Whe eas Da id Bo d ell, f o the pe spe i e of a il s hola , st esses that the o p ehe sio a d e oio al ea io s fu io e ip o all , Dei d e Wilso , speaki g f o the posiio of li guisi p ag ai s, app oa hes the ate i a o e ei ed a . “he a k o ledges that i so e ases, su h as i eai g ood, the afe i e efe ts o t i ute to the i fe e e- aki g i the o u i aio p o ess. But, d a i g o Joh L. Ausi , she st esses that the e a e also a a iet of pe lo uio a efe ts like o edo , laughte , a ge , sho k, hi h do ot fo pa t of hat is o u i ated. I stead, the a e o se ue es of the a t of o u i aio .
The hope is to ha e illust ated that i the ase of slo i e a e dei itel e ou te e a ples he e the ood of the episode is lea l o e ted to the plot, su h as the i e s e e i Blissfully Yours. At the sa e i e, all the lo g shots a d e i e episodes of e hausi g du aio
633 David Bordwell Three dimensions of ilm narrative in David Bordwell Poetics of Cinema, New York, 2008, p. 94. 634 Deirdre Wilson Relevance and the interpretation of literary works in Ye Tian (ed.) Working Papers in Linguistics, Vol. 23, 2011, London’s Global University, p. 79., available at http://www.ucl.ac.uk/psychlangsci/ research/linguistics/publications/wpl/11papers/Wilson2011 (Accessed 20.05.2014). 635 Ibid., p. 79. IV. Conclusion 206 he e othi g happe s e tai l ha e a efe t o the audie e, ega dless hethe i te ded o ot. Ho e e , as lai ed th oughout the p oje t, all these pe lo uio a efe ts fo a esse ial pa t of the il i e pe ie e, e e if the a e de eloped to su h a e t e e that the e oke i supe a le o edo , as as the ase ith the il Colossal Youth, renamed Colossal Bore so e il ii s. This il e pe ie e also p o oted a alkout so e of the audie e.
All of these odes fo e pe ie i g slo il – hethe i te p etaio o the a ious possi iliies fo afe i e, e oio al o se so ial e ha ge, a fu io o u e tl . Ho e e , the suggesio as that ea h ie e , a o di g to his o situio fo dife e t st et hes of a il , ill hoose a othe do i a t i o de to e gage ith the il . Thus i Fallen , it ould e the sol i g of the puzzle of Ali a’s sui ide alo g the li es of a ge e il , hile Blissfullyi Yours it ight e the do i a e of the ood episodes that d a the ie e ’s ate io . But, o e agai , ea h audie e e e ’s i di idual disposiio has to e take i to o side aio , e ause a othe ie e of Fallen a o e e at a ted to the stagi g of the il a d thus pa o e ate io to the pa a et i ualiies of the ise-e - s e athe tha to the ste ious plot. A ie e of Api hatpo g a e o pletel aled the fa t that the il ha ges its ou se ight at the iddle a d thus hoose to lea e it.
O e agai , it ust e u de li ed that i te p etaio is just o e possi ilit fo e gagi g ith slo il s. These othe ualiies, as i di ated a o e, a e ot o l just i po ta t i the e ha ge et ee il a d ie e – the a e e e as i po ta t as the plot. This leads to the o ious t ai of thought that slo i e a a e i te p eted as a othe fo of i e a of at a io s.
As To Gu i g’s ilesto e o ept of the i e a of at a io s is ell k o , the e is o eed to epeat it, ut appl i g this o ept to slo i e a so e u ial dife e es ha e to e ade lea . Fi st of all, Gu i g o o s the te atracio s f o “e gei Eise stei a d u de sta ds it as a agg essi e efe t upo the ie e . Clea l though, i the ase of slo i e a e a ot speak a out agg essio . “e o dl , a at a io is a e sho t o e t, ut i slo i e a the asi ha a te isi of the at a io is its see i gl easeless du aio . The du aio itself e o es a at a io i a ious e a ples of slo i e a. Thi dl , the i e a of at a io s foste s a a i-illusio isi ode of a ai e as the at a io s dist a t the ie e f o the sto li e. I this ega d the ase of slo i e a is a iguous. I deed, these il s, like the il st ips of ea l i e a, ote la k a st o g sto li e. But at the sa e i e, the odus of stagi g i slo i e a al a s t ies to suggest a e st o g ealit efe t.
636 For a revised version of the cinema of attractions see Tom Gunning The Cinema of Attractions: Early Film, its Spectator and the Avant-Garde in Thomas Elsaesser (ed.) Early Cinema. Space, Frame, Narrative, London, 1990, pp. 56-63. IV. Conclusion 207 All i all, futu e o side aio of hethe the te ci e a of atracio s a e used o l i o e io to the slo i e a o e e t of the st e tu o hethe it a e applied to all p ede esso s of du aio al i e a ould e o th hile. Thus it ould est e des i ed as a ode of ep ese taio a d p ese taio . The dis ussio s et ee s hola s of ea l i e a a out the elaio ship et ee ea l i e a, at a io s a d a ai it a also shed light o the o e io et ee the o e ts of at a io s a d the a ai e e e ts i slo i e a. All i all, Kessle suggests that it ould e o e f uiful to ega d the t o te de ies – the sto a d the at a io s – as ope ai g si ulta eousl ithi the sa e episode, i stead of si ple di hoto . A d this is also the ase of the elaio ships et ee the plot a d afe i e, e oio al a d se so ial o e ts i the il . As e io ed i this p oje t, slo i e a has ee fa ou ed ii s i ega ds to the fa t that it ofe s o e i te esi g a isi a ou ts tha o te po a Holl ood i e a a p odu e. What’s o e, slo i e a a e o side ed as a ou te o e e t to the o te po a e ui e e t that all doi gs ha e to displa the g eatest ei a . Whe eas a Holl ood il , ei g a p odu t of apital e o o , t ies to ea h the a i u efe t i esi g i i u efo t th ough the use of a ai e e o o , slo i e a is the opposite e ause o o lusio a e so easil a hie ed. He e the efo t de a ded f o the ie e is u h g eate , a d, if the ie e does ot o pl ith the ules of the ga e, his i e ai e pe ie e a e d a uptl i f ust aio .
I a ase, slo i e a is a i e- o su i g e pe ie e, a d the de isio to spe d . hou s o hou s fo B la Ta ’s Sátántango of ou i e at hi g su h a il , is e tai l ot o l a a ifestaio of ou i e ai taste ut also a e p essio of ou aitude to a ds the issue of hethe ei a is e essa fo e pe ie i g a t.
This thesis ill e o luded ith t o e a ks. O e o e s the possi ilit fo fu the esea h i to slo i e a. The othe is elated to the p ospe ts of the slo i e a o e e t altogethe . A ep oa h a pe haps e ade of asso iaio ist easo i g i hat Da id Bo d ell sa al ost t e t ea s ago as o e of the deadl si s of il s hola s . He des i es it as a i olage of pa allels, i te p etai e leaps, a d it ut u suppo ted o lusio s hi h eshes s oothl ith the juggli g of te s, a es, a d efe e es e ou aged the i olage st ateg .
Ho e e , e e if this p oje t a e ep oa hed fo usi g i olage as the ai ethodologi al tool, it a also se e as a te plate fo othe s hola s f o su h dis ipli es as ps holog to ofe esea h that is o e p ofou d a d i fused ith ps hologi al e ide e that ould
637 For more information on this division see Frank Kessler The Cinema of Attractions as Dispositif in Wanda Strauven (ed.) The Cinema of Attractions Reloaded, Amsterdam, 2007, p. 57-58. 638 Ibid., p. 58. 639 David Bordwell Film Studies and Grand Theory in David Bordwell, Noél Carroll (eds.) Post-Theory. Reconstructing Film Studies, Madison, 1996, p. 24. 640 Ibid., p. 24. IV. Conclusion 208 o i o o fute lai s. As a e a ple - so e esea h that as a ied out at the U i e sit of Vie a. The esea h tea , led Ha a B i k a , took as thei sta i g poi t the lai lau hed du i g Do u e ta II that a st a t a t is a u i e sal la guage, o p ehe si le to e e o e ega dless of ultu al, polii al o histo i al a kg ou d. I a e pi i al stud he e the e e- o e e ts of the pa i ipa ts e e e o ded, the esea h g oup a e to the o lusio that i o pa i g the pe epio a d e aluaio of a st a t a d ep ese taio al a t o ks, the e as o e ide e to e fou d that a st a t a t eli its a o e ho oge eous pe epio tha ep ese taio al pai i gs.
“i ila e pi i al studies o e i g e e- o e e t a d il s ha e also ee a ied out. Ps hologist Ti “ ith a al zed the ie e ’s gaze du i g a s ee i g of the il There Will Be Blood. The esults he o tai ed sustai ed the Bo d ell thesis of ho the il ake o ga izes the shot i o de to di e t audie e’s ate io .642
I a ase, the ost i po ta t poi t is the eed fo il studies to o-ope ate o e a d o e ith othe dis ipli es, e ause su h olla o ai e efo ts a deli e e i te esi g i sights as as de o st ated i the hapte o staisi al st le a al sis. T o uesio s e e e plo ed the ei : hethe pa a et i it , hi h has al a s ee o side ed a i e ita le featu e of slo i e a, a also e dete i ed f o staisi al data alo e, a d se o dl , hethe e a dete i e the p ope le gth of a shot that ould se e as a i di ato of slo i e a. Fo the i st uesio the o lusio as that pa a et i it a e dete i ed o l taki g i to a ou t a il ’s a ai e a al sis. Fo the se o d uesio , se o ds A“L see s to e the di idi g li e ate hi h it a e dee ed slo i e a, ith the sta da d A“L fo a slo il l i g so e he e et ee a d se o ds pe shot.
But, as as e i is e t th oughout this p oje t, the a eas of esea h that ha e e o e the fo us of i e a studies du i g the last de ade o so al ead go fa e o d the apa it of a sole i e a s hola . The estee ed i e ai s hola Ri ha d Malt , speaki g i a slightl dife e t o te t, e e de a ds a p a i al e-skilli g fo il histo ia s . Thus ot o l the asso iaio ist easo i g ould disappea , ut also o e o ete i sights i to a audie e’s e gage e t ith a il ould e o tai ed.
The se o d o ludi g e a k o e s the depe de e of the il ’s st le o the te h i al soluio s at ha d. O iousl , the lou ishi g of e te ded takes has ee ou ished the i t odu io of digital a e as, hi h ade the o st ai s o the st lisi f eedo of
641 Hanna Brinckmann, Laura Commare, Helmut Leder, Raphael Rosenberg Abstract Art as a Universal Language? in Leonardo, Vol. 47, No. 3, 2014, p. 256-257. 642 Tim Smith Watching you watch There will be blood in David Bordwell Observations on ilm art, 14.02. 2011., available at http://www.davidbordwell.net/blog/2011/02/14/watching-you-watch-there-will-be-blood/ (Accessed 23.09.2012). 643 Richard Maltby New Cinema Histories in Richard Maltby, Daniel Biltereyst, Philippe Meers (eds.) Explorations in New Cinema History: Approaches and Case Studies, Chichester, 2011, p.34. IV. Conclusion 209 di e to s il a e a a d its eel le gth of o l i utes edu da t. No e a e u de goi g a ga e- ha gi g phase ega di g i e a o su pio ha its as ell. “i ila l to the s, he the i t odu io of VH“ o pletel ha ged the a il s e e o su ed, the i easi g i po ta e of a ious po ta le digital de i es used fo at hi g il s is al ead ha i g a o se ue e o ou il o su pio ha its. Ba “alt, i his ildl a lai ed esea h o il st le a d te h olog , plausi l de o st ates that e te h i al i o aio s ha e i lue ed the a the il s look.644 But s ee i g o diio s also ha e to e take i to a ou t – the est e a ple he e is the ad e t of tele isio hi h, as a o se ue e, ielded the aug e ted use of si gle shots e ause the s ee as o so s all. Follo i g “alt’s thesis, I a eage fo the possi le futu e of slo i e a, e ause fo su h de isi e slo i e a e pe ie es as the p ese e of the i age o i e sio i to the shot, the da ke ed i e a e i o e t see s to e ausal. Du aio al shots at hed o po ta le de i es a ot sustai ou i te est fo a lo ge i e pe iod, e ause su ou di g dist a io s a e a e o ous o sta le, e it a a ki g dog o kids o oa d a shutle-t ai .
This thesis as the i st ate pt to de o st ate that the e a e a ai e st u tu es i slo i e a, just as i ai st ea il s, a d that it is possi le to dete t e tai egula iies a out the . “u el , slo i e a e els as a p i e e a ple of li ea a ai es – a featu e that is ot o siste t ith the te de to a ds o -li ea it so o o i o te po a i e a. All i all, slo i e a has to e ega ded as just o e possi ilit a o gst uliple opio s i o te po a il i ho to o ga ize a sto i to a plot. I o pa iso to the se o d half of the th e tu he the di isio et ee Holl ood a d a t-house i e a p e ailed a d oth e e see as the o l t o possi le alte ai es, a huge di e sit of dife e t a ai e fo s lou ishes o ada s. To a e a fe – u elia le a aio , o li ea a ai es, f ag e ted sto telli g a d sho t il s. Not to e io the di e se possi iliies ofe ed the TV se ies. Thus, a ai e fo s i o te po a i e a a e u de goi g a huge ha ge to a ds a ulitude of a ai e fo s, of hi h slo i e a o situtes o l a s all fa et.
The o lusio s of this thesis a e de i ed f o the a al sis of o l si e a ples, ho e e the lai as ade that the ideas put fo a d i this stud ould e applied ot o l to othe il s il ake s usuall asso iated ith slo i e a: B u o Du o t, Al e t “e a, Gus a “a t, Paz E i a, A as Kia osta i, “ha u as Ba taa a d La Diaz, ut also to the o ks of su h fo e u e s to du aio al i e a as Ro e to Rosselli i, Mi hela gelo A to io i, Cha tal Ake a , Wi We de s, A d ei Ta ko sk a d Ale a de “oku o . If a al sed f o the poi t of ie of st u tu al a al sis as as do e i the p ese t p oje t, e a o tai stu i g o lusio s a out the a ai e st u tu es of thei il s, a d su h a a al sis ould o t i ute e e o e to the i di gs he ei , that, fo e a ple, the a t s he e fo s a u i e sal a ai e p i iple.
644 Barry Salt Film Style and Technology: History& Analysis, 1st edition 1983. IV. Conclusion 210 Fla aga , uoted i this thesis u e ous i es, o ludes his p oje t o slo i e a o a opi isi ote stai g that the te de to p odu e slo il s ill ost likel o i ue to st e gthe i ea s to o e. 645 E e if e take o je io to the o side aio that the dist i uio of slo il s ill o i ue to ai l take pla e though il fesi als a d ot th ough po ta le de i es, the de elop e t of the fesi al s e e a d the i a ial suppo t of oth – the fesi al i uit a d il p odu io – ill also i lue e if ot the look of the il s, the at least the a ou t of the ei g ade. Fo the i e ei g it a e stated that % of Eu opea s ate d il fesi als.646 Ho e e , if e o side il fesi als as the ost o o pla e he e slo il s a e s ee ed; e a ot o lude that % of Eu opea s ha e see a slo il at least o e i thei lifei e. The sa e esea h a ied out the Eu opea Co issio o ludes that Eu opea il s a e o side ed o igi al a d thought-p o oki g, ut audie es a e ii al of slo o hea sto li es. 647 The p efe e es of audie es a e e e a o sta le fo a gited a ist to i ple e t his isio i to a a t o k, o e o i g hate e ha d st uggle the a fa e to p ese t a il to the ie e . A e ie of Jauja, Lisa d o Alo so’s e est il , s ee ed at the Ca es Fil Fesi al i hilst the o lusio of this thesis as ei g ite , de o st ates that slo i e a o i ues to e ist. It sta ts as follo s: “A a akes his a e , e slo l a oss a desolate Patago ia la ds ape. A d Ate a lo g i t odu to se io , a e ou te [takes pla e] hi h o es as a olt f o the lue , the il e ds up taki g us to o pletel u fa ilia te ai .648 Ve si ila ph ases - si ila to the o es e ha e see i o e io to all the ase e a ples he ei . What’s o e, Tu kish il ake Nu i Bilge Ce la , also o side ed a ep ese tai e of slo i e a, e ei ed the Pal e d’O i fo his il Winter Sleep. All this allo s fo ight p ospe ts fo slo i e a, at least fo the p ese t o e t.
645 Matthew Flanagan Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film, 2012, University of Exeter, p. 216, available at https://ore.exeter.ac.uk/repository/handle/10036/4432 (Accessed May 2013). 646 European Commission, Press release Lack of choice driving demand for ilm downloads, 6.02.2014, available at http://europa.eu/rapid/press-release_IP-14-120_en.htm (Accessed 19.05.2014). 647 European Commission, Press release Lack of choice driving demand for ilm downloads, 6.02.2014, available at http://europa.eu/rapid/press-release_IP-14-120_en.htm (Accessed 19.05.2014). 648 Jonathan Romney Jauja in Screen International, 19.05.2014, available at http://m.screendaily.com/5072155. article (Accessed 19.05.2014). Bibliography 211 Bibliography
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Guille ,àMi haelàLi e pool. A i te ie ith Lisa d o Alo soài àT it h,àa aila leàatàhtp:// t it hil . o / / /li e pooli te ie - ith-lisa d o-alo so.ht là á essedà . . .
Gu e ht,àHa sàUl i hàP odu io of P ese e,àSta fo d,à .
Gu i g,à To The Ci e a of At a io s: Ea l Fil , its “pe tato a d the A a t-Ga deà i à Tho asàElsaesse à ed. àEa l Ci e a. “pa e, F a e, Na ai e, Lo do ,à ,àpp.à - . Bibliography 218 Hei zel a ,à Ma kusà Vo o tà i à Ma kusà Hei zel a ,à Wolfga gà Ull i h,à Hei zà K o elo hà eds. à“lo Pai i gs,àNu e e g,à ,àpp. - .
He a ,àDa id Na ai e Theo a d the I te io al “ta e i à Pa ial A s e s,à Ju eà ,à Vol.à ,àIss.à ,àp.à - ,àa aila leàatàhtp://lio . had k. o.uk/sea hFullte t.do?id=R &di Le el= &a ea=a ell&fo a d= it ef_tàà á essedà . . .
He a ,àDa idà“to Logi : P o le s a d Possi iliies of Na ai e,àLi ol ,à .
Hohl au ,àCh isi eàLouiseàThe Po e of “lo . Wa s to sa e Ti e i Ou / Wo ld, Ne à Yo k,à .
Holu ,àRo e tàC.àà‘e epio Theo : a ii al i t odu io ,àLo do ,à .
Ho o ,àCa làI P aise of “lo ess: Challe gi g the Cult of “peed,àNe àYo k,à .
Hughes,à Da e à Ped o Costa s Va da T ilog a d the li its of a ai e i e a as a o te plai e a tài àDa e àHughesàLo g Pauses,àa aila leàatààhtp:// .lo gpauses. o / ostas- a da-t ilog /à á essedà . . .
Hughes,à Da e à Who s Joh Fo d?à i à “e ses of Ci e a,à . . ,à a aila leà atà htp:// se sesof i e a. o / / /lisa d o-alo so-i te ie /à á essedà . . .
Hüh ,àPete àFu io s a d Fo s of E e ful ess i Na ai e Fi io ài àJoh àPie ,àã gelàGa iaà La daà eds. àTheo izi g Na ai it ,àBe li ,à ,àpp.à - .
Hüh ,àPete à‘e isio of E e t a d E e ful ess f o F i, “epte e , ài àPete àHüh à etàal.à eds. ààThe Li i g Ha d ook of Na atolog ,àHa u g,àa aila leàatàhtp:// .lh .u i- ha u g.de/ ode/ / e isio s/ / ie àà á essedà . . .
Huhta o,àE kkiàU te egs i de Kapsel: “i ulato e u d das Bedü f is a h totale I e sio à i à o tage a à / / ,àpp.à - .
I ga de ,àRo a àThe Cog iio of the lite a Wo k of A t,àE a sto ,à .
Ise ,àWofga gàDie Appellst uktu de Te te, Ko sta z, .
Ise ,àWolfga gàDe Akt des Lese s. Theo ie ästheis he Wi ku g,àMu i h,à . Bibliography 219 Ise ,àWolfga gàDe Lese o ga g. Ei e phä o e ologis he Pe speki eài àRai e àWa i gà ed. à ‘ezepio sästheik. Theo ie u d P a is,àMu i h,à ,à - .à
Jako so ,àRo a à The Do i a tài à Ladisla àMatejka,àK st aàPo o skaà eds. à Readings in ‘ussia Poei s: Fo alist a d “t u tu alist Vie ,àChi ago,à ,àpp.à - .
Ja es,àNi kàPassi e Agg essi eài à“ight & “ou d,àáp ilà ,àVol.à ,àIssueà ,àp.à .
Jauss,àHa sàRo e tàLite a Histo as Challe ge to Lite a Theo ài àHa sàRo e tàJaussàTo a d a Aesthei of ‘e epio ,àB ighto ,à .
Joh sto ,àT e o àI te ie Béla Ta ài àTi e Out Lo do ,àa aila leàatàhtp:// .i eout. o /lo do /featu e/ / ela-ta -i te ie à á essedà . . .
KàHa s? De a ge i ish e ‘eggisue Lisa d o Alo so,ài àSüda e ikaàBlog,à . . ,àa aila leà atààhtp:// .sueda e ika- log.de/u lau /de -a ge i is he-il egisseu -lisa d o-alo so/à á essedà . . .
Ke ,àGle àA out Nothi g, O Ne Fast,à . . àa aila leàatàhtp://so e a e u i g. t pepad. o /so e_ a e_ u i g/ / / e -fast.ht là á essedàMa à .
Kessle ,àF a kàThe Ci e a of At a io s as Disposiifài àWa daàSt au e à ed. àThe Ci e a of At a io s ‘eloaded,ààá ste da ,à àpp.à - .
Kli ge ,àBa a aàThe a t il , afe t a d the fe ale ie e :àTheàPia oà e isedài à“ ee à : ,à Sp i gà ,àpp.à - .
Ki i h,à Do otheeà Die Bildli hkeit de Lee stelle. Be e ku ge zu Lee stelle ko zepio i de f ühe Fil theo ie,à ,à a aila leà atà htp:// .u i-tue i ge .de/ilead i / U i_Tue i ge /Fakultaete /Neuphilologie/Deuts hes_Se i a /á teilu ge /Neue e_ dt_Lite atu /Ho epages/Ki i h/Doku e te/Bildli hkeit_de _Lee stelle.pdfà á essedà . . .
Ko h,àGe t udà&àVoss,àCh isia eà... K at de Illusio ài àGe t udàKo h,àCh isia eàVossà eds. à... K at de Illusio ,àMu i h,à ,àpp.à - . Bibliography 220 Koehle ,àRo e tàThe Thi ki g I age: àF ed Kele e o Béla Ta a d TheàTu i àHo seài àCi e aà S ope,àNo.à ,àMa hà ,àa aila leàatàhtp:// i e a-s ope. o / i e a-s ope- agazi e/ i te ie -the-thi ki g-i age-f ed-kele e -o - ela-ta -a d-the-tu i -ho se/à á essedà . . .
Kois,à Da à Eai g You Cultu al Vegeta les i à The Ne Yo k Ti es,à . . ,à a aila leà atà htp:// . i es. o / / / / agazi e/ ag- Rif-t.ht l?page a ted=all&_ = à á essedà . . .
Ko s,àá d sàB li tà“ ee i g Mode is . Eu opea A t Ci e a, – ,àChi ago,à .
Ko s,àá d sàB li tàThe Ci e a of Béla Ta : the Ci le loses,àLo do ,à .
Ko a si s,àVioletaà&àNa a ,àáda à“ho e lea e: Lisa d o Alo so sàLi e poolài àCi e a“ ope,à a aila leà atà à htp:// i e a-s ope. o / i e a-s ope- agazi e/i te ie s-sho e-lea e- lisa d o-alo sos-li e pool/à á essedà . . .
Kuh ,àMa kusàFil a atologie. Ei e zähltheo eis hes A al se odell,àBe li ,à .
Kuz a,à Ko sta t à Béla Ta o à Tu i à Ho se,à i à East Eu opea Fil Bullei ,à .à Fe .à ,à a aila leà atà htp://eeb.o g/a hi e/fe ua / elata -o -the-tu i -ho se- /à á essedà . . .
Leigh,àDa àThe Vie : Is It OK to Be a Fil Philisi e? i àThe Gua dia ,à . . ,àa aila leà atà htp:// .thegua dia . o /il /il log/ / a / /il -philisi eà á essedà Ma à
Lo i k,à Gee t:à Was u s i kli h k a k a htà i à F a kfu te Allge ei e )eitu g,à . . ,à a aila leà atà à à htp:// .faz. et/aktuell/feuilleto /de ate /digitales-de ke / i fo aio sue e utu g- as-u s- i kli h-k a k- a ht- .ht l#D u ke à á essedà . .
Li sse ,àDa a I t odu i g: “lo C ii is àài àFil k a t,à ,àa aila leàatàhtp:// .il k a t. l/slo ii is _ à á essedà . . .
Li sse ,àDa a:àOut of the Co fo t )o eài àFil k a t,à ,àa aila leàatàhtp:// .il k a t. l/slo ii is _ à á essedà . . . Bibliography 221 Li sse ,àDa a “ho t Takes o Lo g Takes i àFil k a t,à ,àa aila leàat à htp:// .il k a t. l/slo ii is _ / à á essedà . . .
L ota d,àJea -F a çoisàThe Post ode Co diio : A ‘epo t o K o ledge,àMa heste ,à .
Ma i ei,à Filippoà To asoà The Futu ist Ma ifest,à [ ],à a aila leà atà htp:// s s.u i h. edu/~ shalizi/T PM/futu ist- a ifesto.ht là á essedàMa à .
Ma ks,àLau aàTheàSki àofàtheàFil :àI te ultu alàCi e a,àE odi e t,àa dàtheàSe ses,àDu ha ,à .
Ma ks,àLau aàTou h: “e suous Theo a d Mulise so Media,àMi eapolis,à .
M Hale,àB ia àWeak Na ai it : The Case of A a t-Ga de Poet ài àNa ai e,àVol. ,àN .à ,à ,àpp.à - .
Malt ,à Ri ha dà Ne Ci e a Histo iesà i à Ri ha dà Malt ,à Da ielà Bilte e st,à Philippeà Mee sà eds. àE plo aio s i Ne Ci e a Histo : App oa hes a d Case “tudies,àChi heste ,à ,àpp.à - .
Mit hell,àTo àA i ai g Dead “pa e a d Dead Ti eài à“ight& “ou dà . ,à ,àpp.à - .
Mit hell,à Willia à J.à Tho asà What Do Pi tu es Wa t?: The Li es a d Lo es of the I ages,à Chi ago,à .
Moes hle ,à Ja uesà P ag ai s, p oposiio al a d o -p oposiio al efe ts: a a theo of ute a e i te p etaio a ou t fo e oio s i e al o u i aio ? i à“o ial “ ie e I fo aio ,àà ,àVol.à ,àNoà ,àpp.à - .
Mülle ,à Jü ge à E.à To a ds a P ag ai s of the Audio isual II – o the Co i uaio of a I t odu io ài àJü ge àE.àMülle à ed. àTo a ds a P ag ai s of the Audio isual. Theo a d HistoryàVol. ,àMue ste ,à ,àpp.à - .
Na ,àJea -Lu àA G u d de Bilde ,à)ü i h,à .
Nell,àVi to àLost i a Book.àThe Ps holog of ‘eadi g fo Pleasu e,àNe àHa e àa dàLo do ,à . Bibliography 222 Nielse ,àJa o àIsakàBo d ell o Bo d ell: Pa t IVà- Le els of E gage e tài à : ,àFe ua à ,àa aila leàatàhtp:// . - .dk/ - /side _i e glish.ht à á essedà . . .
Odi ,àRoge àFo a “e io-P ag ai s of Fil i àRo e tàSta à&àTo àMille à eds. Fil a d Theo . A A tholog ,àMalde ,à ,àpp.à - .à
Odi ,àRoge àKu st u d Ästheik ei Fil u d Fe sehe . Ele e te zu ei e se io-p ag ais he A satz i à o tage a ,à / / ,àpp.à - .
Paiso ,àMi haelàAV Fesi al: “lo Ci e a Weeke d, Pa t I – Pa el Dis ussio ài àF o t ‘o ‘e ie s,à . . à a aila leà atà htp:// .f o t o e ie s. o.uk/il _e e ts/a -fesi al- slo - i e a- eeke d-pa t- -pa el-dis ussio / à á essedà . . .
Pasoli i,àPie àPaoloàO se aio s o the Lo g Takeài àO to e ,àVol.à ,àSu e à ,àpp.à - .
Pete so ,àJa esàD ea s of Chaos, Visio s of O de : U de sta di g the A e i a A a t-Ga de Ci e a,àDet oit,à .
Pet i i,àCa loà“lo Food. Ge iesse it Ve sta d,à)u i h,à à “lo food. Le agio i del gusto,à Edito iàLate za,àRo a,à .
Phela ,à Ja esà E pe ie i g Fi io : Judg e ts, P og essio s, a d the ‘heto i al Theo of Na ai e,àColu us,à .
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Pilki gto ,àád ia àPoei Efe ts: A ‘ele a e Theo Pe spe i eài àRoge àD.àSellà ed. àLite a P ag ai s,àLo do ,à ,àpp.à - .
Pilki gto ,àád ia àPoei Efe ts: A ‘ele a e Theo Pe spe i e,àá ste da ,à .
Pla i ga,àCa làA t Moods a d Hu a Moods i Na ai e Ci e a i àNe Lite a Histo ,àVol.à ,àN .à ,àSu e à ,àpp.à - .
Pla i ga,àCa làMo i g Vie e s: A e i a Fil a d the “pe tato s E pe ie e,àBe kele ,à .
Pla i ga,àCa là&àS ith,àG egàM.àI t odu io ài àCa làPla i gaà&àG egàM.àS ithà eds. àPassionate Vie s: Fil , Cog iio , a d E oio ,àBali o e,à ,àpp. - . Bibliography 223 Pola ,àDa aàFil Theo ‘e-Assessedài àCo i uu : The Aust alia Jou al of Media & Cultu e.à Vol.à à oà à ,à a aila leà atà htp:// . u do h.edu.au/Readi gRoo / . /Pola . ht làà á essedà . . .
Pola i,àLi iaà“o What´s The Poi t?ài à“e ioi aàVol.à à,àN .à /à ,à ,àpp.à - .
P hö e ,àHetaà“uspe se a d “u p iseài àDa idàHe a ,àMa f edàJah ,àa dàMa ie-Lau eàR a à eds. à‘outledge E lopedia of Na ai e Theo ,àLo do ,à ,àpp.à - .
Qua dt,àJa esàResistant to Bliss.àDes i i g Api hatpo g,ài àJa esàQua dtà ed. àApi hatpo g Wee asethakul,àVie a,à ,àpp.à - .
Raidel,àEllaà“u e si e ‘ealitäte . Tsai Mi g-Lia g u d sei e Fil e,àMa u g,à .
Ra ,à Ro e tà B.à Ho the Fil Theo Got Lost a d Othe M ste ies i Cultu al “tudies,à Bloo i gto ,à .
Reheis,àF itzàBef eiu g o Tu op i zip. Die Diktatu des Geldes u d die Pe speki e ei e Ökologie de )eit i àMa usàB üde li à ed. àDie Ku st de E ts hleu igu g. Be egu g u d ‘uhe i de Ku st o Caspa Da id F ied i h is Ai Wei ei, Osfilde ,à ,àpp.à - .
Reheis,àF itz:àDie K eai ität de La gsa keit. Neue Wohlsta d du h E ts hleu igu g edà ediio ,àDa stadt,à .
Ri ei o,àá aàChi si aà‘ele a e Theo a d Poei Efe ts i àPhilosoph a d Lite atu e,àVol.à ,àNo.à ,à ,àpp.à - .
Ri i e,àDa i leà&àMi g-lia g,àTsaià“ oui g i àJea -Pie eàReh ,àOli ie àJo a d,àDa i leàRi i eà Tsaï Mi g-Lia g,àPa is,à ,àpp.à - .
Rizo ,àVadi à“lo Ci e a Ba klash,à . . ,àa aila leàatàhtp:// .if . o / logs/i die- e e/ / /slo - i e a- a klash.phpà á essedàMa à .
Ro e ,à Jo atha à E ile a d the ki gdo : Colossal Youthà i à “ight a d “ou d,à Ju eà ,à a aila leàatàhtp://old. i.o g.uk/sighta dsou d/ e ie / à á essedà . . .
Ro e ,àJo atha I “ea h of Lost Ti eài à“ight & “ou d,àFe ua à ,àp.à . Bibliography 224 Ro e ,àJo atha àJaujaài à“ ee I te aio al,à . . ,àa aila leàatàhtp:// .s ee dail . o / .a i leà á essedà . . .
Rosa,àHa t utàBes hleu igu g. Die Ve ä de u g de )eitst uktu e i de Mode e,àF a kfu tà a àMai ,à .
Ruhka p,àUteà&àB üde li ,àMa usàHe hel de Poliike , ashe de Fi a z ä kte, haois hes “ h i ge , Bu -out, e iges Le e . I te ie it de “oziologe Ha t ut ‘osa,ài àMa usà B üde li à ed. àDie Ku st de E ts hleu igu g. Be egu g u d ‘uhe i de Ku st o Caspa Da id F ied i h is Ai Wei ei,àOsfilde ,à ,àpp.à - à Feuilleto .
R a ,àMa ie-Lau eàA ata s of “to ,àMi eapolis,à .
R a ,àMa ie-Lau eàI t odu io ài àMa ie-Lau eàR a à ed. àNa ai e a oss edia: the la guages of storytelling,àLi ol ,à ,àpp.à - .
R a ,àMa ie-Lau eàO the theo ei alàFou daio s of T a s edial Na atolog ài àJa àCh istophà Meiste à ed. àNa atolog e o d Lite a C ii is . Medialit , Dis ipli a it ,ààBe li ,àNe àYo k,à ,àpp.à - .
R a ,àMa ie-Lau eàMo i g Pi tu esài àMa ie-Lau eàR a à ed. àNa ai e a oss Media,àLi ol ,à ,àpp.à - . R a ,àMa ie-Lau eàNa ai e as Vi tual ‘ealit : I e sio a d I te a i it i Lite atu e a d Ele t o i Media,àBali o e,à .
R a ,àMa ie-Lau eà Tella ilit à i à Da idà He a ,àMa f edàJah ,à a dà Ma ie-Lau eàR a à eds. à RoutledgeàE lopaediaàofàNa ai eàTheo ,àLo do ,à àp.à - .
Salt,àBa àMo i g I to Pi tu es. Mo e o Fil Histo , “t le, a d A al si,àLo do ,à .
S izzi,àPaulàA Co e saio to Béla Ta ài àHa e to Nails,à .àNo e e à ,àa aila eàatà htp:// .ha e to ail. o /i te ie s/a- o e saio - ith- ela-ta -the-tu i -ho se/à á essedà . . .
Sha i o,àSte e à“lo Ci e a s. Fast Fil sài àSte e àSha i oàThe Pi o hio Theo ,à . . ,à a aila leàatàhtp:// .sha i o. o /Blog/?p= à á essedàMa à .
S h id,àWolfàNa ai it a d E e ful essài àTo àKi dt,àHa s-Ha aldàMülle à eds. àWhat Is Na atolog ? Quesio s a d A s e s ‘ega di g the “tatus of a Theo ,àBe li ,à ,àpp.à - . Bibliography 225 S h eide ,àRalfà‘e epio Theo ài àDa idàHe a ,àMa f edàJah ,àa dàMa ie-Lau eàR a à eds. à ‘outledge E lopaedia of Na ai e Theo ,àLo do ,à ,àpp.à - .
S h a tz,à Ro aldà Neo-Noi : The Ne Fil Noi “t le f o Ps ho to Collate al,à La ha ,à To o to,àO fo d,à .
Seeßle ,àGeo gàDeteki e. Mo d i Ki o,àMa u g,à .
S h a ,àStephe à&àGa so ,àB elà&àHesse,àF ied i hàW.àDo il uts fa ilitate the pe eptual a d og ii e o ga izaio of a i it se ue es?ài àMe o a d Cog iio ,à ,à à ,àpp.à - .
Si ge ,àBe àJea e Diel a : Ci e ai I te ogaio a d A plii aio ’ài àMille iu Fil Journal,à ,à ,àpp.à - .
S ith,àG egàM.àFil “t u tu e a d the E oio “ ste ,àCa idge,à .
S ith,àG egàM.àLo al E oio s, Glo al Moods, a d Fil “t u tu eài àCa làPla i ga,àG egàM.à S ithà eds. àPassio ate Vie s: Fil , Cog iio , a d E oio ,àBali o e,à ,àpp.à - .
S ith,àMu a àE gagi g Cha a te s: Fi io , E oio , a d the Ci e a,àO fo d,à .
S ith,àTi àWat hi g ou at h The e ill e loodài àDa idàBo d ellàO se aio s o il art,à . .à .,àa aila leàatàhtp:// .da id o d ell. et/ log/ / / / at hi g- ou- at h-the e- ill- e- lood/à á essedà . . .
So ha k,àVi ia Ca al Thoughts: E odi e t a d Mo i g I age Cultu e,àBe kele ,à .
So ha k,àVi ia àThe Add ess of the E e. A Phe o e olog of Fil E pe ie e,àP i eto ,à .
Spe e ,àDa à&àWilso ,àDeid eà‘ele a e: Co u i aio a d Cog iio à edàediio ,àO fo d,à .
Staige ,à Ja età I te p ei g Fil s: “tudies i the Histo i al ‘e epio of A e i a Ci e a, P i eto ,à .
Staige ,àJa etàMedia ‘e epio “tudies,àNe àYo k,à .
Staige ,àJa etàPe e se “pe tato s: The P a i es of Fil ‘e epio ,àNe àYo k,à . Bibliography 226 Ste e g,àMei àHo Na ai it Makes a Dife e eài àNa ai e,àVol.à ,àNo.à ,àMa à ,àpp.à - .
Ste e g,àMei àNa ai it : F o O je i ist to Fu io al Pa adig ài àPoei s Toda ,à : à Fallà ,àpp.à - .
Ste e g,àMei àP oteus i Quotaio -La d: Mi esis a d the Fo s of ‘epo ted Dis ou seài à Poei s Toda ,àVol.à ,àNo.à à Sp i g,à àpp.à - .
Ste e g,àMei à‘e o eptualisi g a atolog . A gu e ts fo a Fu io alist a d Co st u i ist App oa h to Na ai e i àE th e a,àIV,à ,àa aila leàatàhtp:// i iste.u i i.it/i de .php/ e th e a/a i le/ ie / àà á essedà . . .
Ste e g,àMei àTelli g i Ti e I : Ch o olog a d Na ai e Theo ài àPoei s Toda ,àVol. ,à No.à ,àWi te à ,àpp.à - .
St ase ,à S e à Wie E zählu ge edeute : P ag ais he Na atologieà i à á sga à Nü i gà &à Ve aàNü i gà eds. àNeue A sätze i de E zähltheo ie,àT ie ,à ,àpp.à - .
S ee e ,à R.à E età The ‘u pus i te ie ith Lisa d o Alo soà i à The ‘u pusà a aila leà atà htp://the u pus. et/ / /the- u pus-i te ie - ith-lisa d o-alo so/à á essedà . . .
Süla ,à Vi gi ieà The Tu i Ho se:à I te ie ith Bélaà Ta à i à Ele t i “heep: a de ia t Vie of Ci e a,à . . ,à a aila leà atà htp:// .ele t i sheep agazi e. o.uk/ featu es/ / / /the-tu i -ho se-i te ie - ith- ela-ta /à á essedà . . .
Ta ,àEdàS.ààE oio a d the “t u tu e of Na ai e Fil ,àMah ah,à .
Toola ,à Mi haelà G aded E pe taio s: O the Te tual a d “t u tu al “hapi g of ‘eade s´ Na ai e E pe ie eà i à Joh à Pie à ed. à The D a i s of Na ai e Fo : “tudies i A glo- A e i a Na atolog ,àBe li ,à ,àpp.à - .
Tha ouli,àElethe iaàPost-Classi al Ci e a: A i te aio al Poei s of Fil Na aio ,àLo do ,à .
Tho pso ,à K isi “to telli g i the Ne Holl ood. U de sta di g Classi al Na ai e Te h i ue,àCa idge,àMass.,à . Bibliography 227 Tho pso ,àK isi àTi es go tu sài àO se aio s o Fil A t,àJu eà ,à ,àa aila leàatà htp:// .da id o d ell. et/ log/ / / /i es-go- -tu s/à á essedà . . .
Tsi ia ,àYu iàWhat Do Li es Tell?àá aila leàatàhtp:// . i e et i s.l /de /o _staisi s.phpà á essedà . . .
Tutle,à Ha à Lisa d o Alo so i te ie Ci easte à i à U spoke i e a,à a aila leà atà htp:// u spoke i e a. logspot.de/ / /lisa d o-alo so-i te ie - i easte.ht là á essedà . . .
Tutle,àHa à“lo Fil s, Eas Life,à . . ,àa aila leàatààhtp://u spoke i e a. logspot. o / / /slo -il s-eas -life-sight.ht là á essedàMa à
T ja o ,àJu ijàO Lite a E oluio ài àLadisla àMatejka,àK st aàPo o skaà eds. àReadings in ‘ussia Poei s: Fo alist a d “t u tu alist Vie ,àChi ago,à ,àpp.à - .
Vo de e ,àPete à&àWulf,àHa sàJü ge à&àF ied i hse ,àMikeà eds. à“uspe se: Co eptualizaio s, Theo ei al A al sis, a d E pi i al E plo aio s,àMah ah,à .
Weidele,à Rola dà O ga izi g the Pe spe i es: Fo alizaio a d the “upe o di ate Na ai e “ ste i Theat e a d D a aài àPete àHüh ,àWolfàS h id,àJö gàS hö e tà eds. àPoi t of Vie , Pe spe i e a d Fo alizaio : Modelli g Mediaio i the Na ai e,àBe li ,àNe àYo k,à ,à pp.à - .à
Wilde,àOs a àThe I po ta e of Bei g Ea est,àLo do ,à à[ ].
Wilso ,àDei d eà‘ele a e a d the i te p etaio of lite a o ksài àYeàTia à ed. àWorking Pape s i Li guisi s,àVol.à ,à ,àLo do ’sàGlo alàU i e sit ,àa aila leàatààhtp:// .u l. a .uk/ps hla gs i/ esea h/li guisi s/pu li aio s/ pl/ pape s/Wilso à á essedà . . .
Wilso ,àDei d eà&àSpe e ,àDa àP ag ai s a d Ti eài àDei d eàWilso à&àDa àSpe e àMea i g a d ‘ele a e,àLo do ,à ,àpp.à - . Wilso ,àDeid eàà&àSpe e ,àDa à‘ele a e theo i àLau e eàR.àHo à&àG ego àWa dà eds. Ha d ook of P ag ai s, O fo d,à ,àpp.à - , a aila leàat àhtp:// .da .spe e . f /?p= à á essedà . .
Wilso ,à Dei d eà &à Spe e ,àDa à T uthful ess a d ‘ele a e,à a aila leà atà à htp:// .da . spe e .f / p- o te t/uploads/ / / ilso _spe e .pdfàà á essedà . . . Bibliography 228 Wa hol,àRo àThe U a ata leài àDa idàHe a ,àMa f edàJah ,àa dàMa ie-Lau eàR a à eds. à ‘outledge E lopaedia of Na ai e Theo ,àLo do ,à ,àp.à .
Ull i h,àWolfga gàEi assie te Idee . Die Bef eiu g des `slo pai i g` aus de Me ha is e a i ode isis he De ke sà i à Ma kusà Hei zel a ,à Wolfga gà Ull i h,à Hei zà K o elo hà eds. :à“lo Pai i gs,àNu e e g,à ,àpp.à - .
Wuss,à Pete à Na ai e Te sio i A to io ià i à Pete à Vo de e ,à Ha sà Jü ge à Wulf,à Mikeà F ied i hse à eds. à “uspe se: Co eptualizaio s, Theo ei al A al sis, a d E pi i al E plo aio s,à ,àpp.à - .
Ye se e ,àV a hesla àMeasu i g Na ai it i Lite a Te ts i àJa àCh istophàMeiste ,àTo àKi dtà a dàWilhel àS he usà eds. àNa atolog e o d Lite a C ii is . Medialit , Dis ipli a it ,à Be li ,à ,àpp.à - .
)e e k,àB u oàDeràCog ii eàTu ài de E zähltheo ie: Kog ii e u d Natü li he Na atologieà i àá sga àNü i g,àVe aàNü i gà eds. àNeue A sätze i de E zähltheo ie,àT ie ,à ,àpp.à - .
No Ma s La d – The Ci e a of Lisa d o Alo so,àHa a dàFil àá hi e,àhtp://h l.ha a d.edu/ hfa/il s/ o tde /alo so.ht là a essedà . . .
Mu i. o , The Tu i Ho seàhtp:// u i. o /topi s/the-tu i -ho seà á essedà . . .à Filmography 229 Filmography
Blissfully Yours (dir. Apichatpong Weerasethakul, Thailand, 2002), Second Run DVD, 2006. Colossal Youth/ Juventude em Marcha (dir. Pedro Costa, Portugal, 2006). The Criterion Collecio , . Goodbye, Dragon Inn/ Bu San (dir. Tsai Ming-Liang, Taiwan, 2003), Fox Lorber, 2005.
Fallen\ Krišana (dir. Fred Kelemen, Germany, Latvia, 5 , Naio al Fil Ce tre of Latvia pro oio al copy , 5. Liverpool dir. Lisa dro Alo so, Arge i a, 8 , Seco d Ru DVD, . The Turin Horse/ A Torinói Ló dir. Bela Tarr, Hu gary, , The Ci e a Guild, .