Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó
Autor(a) principal: | |
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Data de Publicação: | 2024 |
Outros Autores: | |
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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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 |
status_str |
publishedVersion |
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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1885-3730 001163795300017 |
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info:eu-repo/semantics/openAccess |
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openAccess |
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application/pdf |
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reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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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