Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó

Detalhes bibliográficos
Autor(a) principal: Carmona, Carlos Ruíz
Data de Publicação: 2024
Outros Autores: Aguiar, Ana Catarina
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10400.14/44172
Resumo: Béla Tarr’s Sátántangó (1994) has been been studied from an aesthetic, political and philosophical perspective, but not from what Tarr and Krasznahorkai consider to be the most important element of their work: the representation of the human condition and dignity. This paper explores how Tarr uses the sequence-shot to represent the dignity of his characters in Sátántangó. Is it possible to identify a specific stylistic pattern in his representation of the human condition? How does Tarr approach the staging of the long take to represent a point of view of humanity? What kind of relationships Tarr establishes between scenarios and characters through camera movement and composition? How do these conceptual relationships contribute to presenting a point of view of the human condition?
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spelling Humanism, landscape and the sequenceshot in Béla Tarr's SátántangóHumanismo, paisaje y el plano secuencia en Sátántangó de Béla TarrBéla TarrFilm analysisFilm narrativeHungarian cinemaSequence-shotSlow cinemaPlano secuenciaCine lentoCine húngaroNarrativa cinematográficaAnálisis fílmicoBéla Tarr’s Sátántangó (1994) has been been studied from an aesthetic, political and philosophical perspective, but not from what Tarr and Krasznahorkai consider to be the most important element of their work: the representation of the human condition and dignity. This paper explores how Tarr uses the sequence-shot to represent the dignity of his characters in Sátántangó. Is it possible to identify a specific stylistic pattern in his representation of the human condition? How does Tarr approach the staging of the long take to represent a point of view of humanity? What kind of relationships Tarr establishes between scenarios and characters through camera movement and composition? How do these conceptual relationships contribute to presenting a point of view of the human condition?Sátántangó (1994) de Béla Tarr ha sido estudiado desde una perspectiva estética, política y filosófica, pero no desde lo que Tarr y Krasznahorkai consideran el elemento más importante de su obra: la representación de la condición humana y su dignidad. Este artículo explora cómo Tarr utiliza el plano secuencia para representar la dignidad de sus personajes en Sátántangó. ¿Es posible identificar un patrón estilístico específico en su representación de la condición humana? ¿Cómo aborda Tarr la puesta en escena del plano secuencia para representar el punto de vista de la humanidad? ¿Qué tipo de relaciones establece Tarr entre escenarios y personajes a través del movimiento de cámara y la composición? ¿Cómo contribuyen estas relaciones conceptuales a presentar el punto de vista de la condición humana?Veritati - Repositório Institucional da Universidade Católica PortuguesaCarmona, Carlos RuízAguiar, Ana Catarina2024-03-07T17:51:03Z20242024-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10400.14/44172eng1885-3730001163795300017info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-03-12T01:39:37Zoai:repositorio.ucp.pt:10400.14/44172Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T04:00:23.202098Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
Humanismo, paisaje y el plano secuencia en Sátántangó de Béla Tarr
title Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
spellingShingle Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
Carmona, Carlos Ruíz
Béla Tarr
Film analysis
Film narrative
Hungarian cinema
Sequence-shot
Slow cinema
Plano secuencia
Cine lento
Cine húngaro
Narrativa cinematográfica
Análisis fílmico
title_short Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
title_full Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
title_fullStr Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
title_full_unstemmed Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
title_sort Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
author Carmona, Carlos Ruíz
author_facet Carmona, Carlos Ruíz
Aguiar, Ana Catarina
author_role author
author2 Aguiar, Ana Catarina
author2_role author
dc.contributor.none.fl_str_mv Veritati - Repositório Institucional da Universidade Católica Portuguesa
dc.contributor.author.fl_str_mv Carmona, Carlos Ruíz
Aguiar, Ana Catarina
dc.subject.por.fl_str_mv Béla Tarr
Film analysis
Film narrative
Hungarian cinema
Sequence-shot
Slow cinema
Plano secuencia
Cine lento
Cine húngaro
Narrativa cinematográfica
Análisis fílmico
topic Béla Tarr
Film analysis
Film narrative
Hungarian cinema
Sequence-shot
Slow cinema
Plano secuencia
Cine lento
Cine húngaro
Narrativa cinematográfica
Análisis fílmico
description Béla Tarr’s Sátántangó (1994) has been been studied from an aesthetic, political and philosophical perspective, but not from what Tarr and Krasznahorkai consider to be the most important element of their work: the representation of the human condition and dignity. This paper explores how Tarr uses the sequence-shot to represent the dignity of his characters in Sátántangó. Is it possible to identify a specific stylistic pattern in his representation of the human condition? How does Tarr approach the staging of the long take to represent a point of view of humanity? What kind of relationships Tarr establishes between scenarios and characters through camera movement and composition? How do these conceptual relationships contribute to presenting a point of view of the human condition?
publishDate 2024
dc.date.none.fl_str_mv 2024-03-07T17:51:03Z
2024
2024-01-01T00:00:00Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
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dc.identifier.uri.fl_str_mv http://hdl.handle.net/10400.14/44172
url http://hdl.handle.net/10400.14/44172
dc.language.iso.fl_str_mv eng
language eng
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instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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