Emre Çağlayan - Poetics of Slow Cinema_ Nostalgia, Absurdism, Boredom-Springer International Publishing_Palgrave Macmillan (2018)

Recommendations

Info

Poetics of Slow Cinema
Emre ÇağlayanPoetics of SlowCinemaNostalgia, Absurdism, Boredom
Page 1: POETICSOFSLOWCINEMANostalgia,Absurd
Page 5 and 6: For my family, Hande, Ufuk and Kıv
Page 7 and 8: viiiPREFACEfills, splashes on the c
Page 9 and 10: xPREFACEtrademarks include a manner
Page 11 and 12: xiiPREFACEmoving images and sounds.
Page 13 and 14: xivPREFACEcontributed to slow cinem
Page 15 and 16: AcknowledgementsJust as in the writ
Page 17 and 18: Contents1 Slow Cinema in Context 12
Page 19 and 20: CHAPTER 1Slow Cinema in ContextIn t
Page 21 and 22: SLOW CINEMA IN CONTEXT3surfaced in
Page 23 and 24: SLOW CINEMA IN CONTEXT5diminishing
Page 25 and 26: SLOW CINEMA IN CONTEXT7strategies:
Page 27 and 28: SLOW CINEMA IN CONTEXT9and on-locat
Page 29 and 30: SLOW CINEMA IN CONTEXT11the 1970s a
Page 31 and 32: SLOW CINEMA IN CONTEXT13Whether slo
Page 33 and 34: SLOW CINEMA IN CONTEXT15Deleuzian t
Page 35 and 36: SLOW CINEMA IN CONTEXT17(and critic
Page 37 and 38: SLOW CINEMA IN CONTEXT19which art c
Page 39 and 40: SLOW CINEMA IN CONTEXT21other cultu
Page 41 and 42: SLOW CINEMA IN CONTEXT23sound effec
Page 43 and 44: SLOW CINEMA IN CONTEXT25Banishment
Page 45 and 46: SLOW CINEMA IN CONTEXT27unacceptabl
Page 47 and 48: SLOW CINEMA IN CONTEXT29the regulat
Page 49 and 50: SLOW CINEMA IN CONTEXT31attention w
Page 51 and 52: SLOW CINEMA IN CONTEXT33identifying
Page 53 and 54:
SLOW CINEMA IN CONTEXT35examples of
Page 55 and 56:
SLOW CINEMA IN CONTEXT37Flanagan, M
Page 57 and 58:
CHAPTER 2Béla Tarr: A Nostalgia fo
Page 59 and 60:
BÉLA TARR: A NOSTALGIA FOR MODERNI
Page 61 and 62:
Page 63 and 64:
Page 65 and 66:
Page 67 and 68:
Page 69 and 70:
Page 71 and 72:
Page 73 and 74:
Page 75 and 76:
Page 77 and 78:
Page 79 and 80:
Page 81 and 82:
Page 83 and 84:
Page 85 and 86:
Page 87 and 88:
Page 89 and 90:
Page 91 and 92:
Page 93 and 94:
Page 95 and 96:
Page 97 and 98:
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Page 109 and 110:
Page 111 and 112:
Page 113 and 114:
Page 115 and 116:
Page 117 and 118:
Page 119 and 120:
102E. ÇAĞLAYANcommentators to pl
Page 121 and 122:
104E. ÇAĞLAYANcinema of Jacques
Page 123 and 124:
106E. ÇAĞLAYAN(2004, 133), resem
Page 125 and 126:
108E. ÇAĞLAYANportrayed the noto
Page 127 and 128:
110E. ÇAĞLAYANcultures in the pr
Page 129 and 130:
112E. ÇAĞLAYANrelationship to hi
Page 131 and 132:
114E. ÇAĞLAYANcinema and its cri
Page 133 and 134:
116E. ÇAĞLAYANunderstanding of g
Page 135 and 136:
118E. ÇAĞLAYANqueer”. Camp sen
Page 137 and 138:
120E. ÇAĞLAYANand online network
Page 139 and 140:
122E. ÇAĞLAYANof the life and st
Page 141 and 142:
124E. ÇAĞLAYANof running into th
Page 143 and 144:
126E. ÇAĞLAYANgoals and motivati
Page 145 and 146:
128E. ÇAĞLAYAN(ii) Ticket clerk
Page 147 and 148:
130E. ÇAĞLAYANsegment I-ii when
Page 149 and 150:
132E. ÇAĞLAYANproduction”—in
Page 151 and 152:
134E. ÇAĞLAYANThe intricate blen
Page 153 and 154:
136E. ÇAĞLAYANTsai creates tragi
Page 155 and 156:
138E. ÇAĞLAYANinstance, illustra
Page 157 and 158:
140E. ÇAĞLAYANEsslin writes that
Page 159 and 160:
142E. ÇAĞLAYANgag. Editing forms
Page 161 and 162:
144E. ÇAĞLAYANbetween two strang
Page 163 and 164:
146E. ÇAĞLAYANand that the humou
Page 165 and 166:
148E. ÇAĞLAYANclassic The Dragon
Page 167 and 168:
150E. ÇAĞLAYANdreamscape, and ed
Page 169 and 170:
152E. ÇAĞLAYANFig. 3.3 Goodbye,
Page 171 and 172:
154E. ÇAĞLAYANthe theatre’s de
Page 173 and 174:
156E. ÇAĞLAYANopposed to restora
Page 175 and 176:
158E. ÇAĞLAYANDavis, Darrell Wil
Page 177 and 178:
160E. ÇAĞLAYANRoss, Andrew. 1993
Page 179 and 180:
162E. ÇAĞLAYANexhibition and rec
Page 181 and 182:
164E. ÇAĞLAYANgenre productions,
Page 183 and 184:
166E. ÇAĞLAYANYeşilçam catere
Page 185 and 186:
168E. ÇAĞLAYANtwentieth-century
Page 187 and 188:
170E. ÇAĞLAYANdepicting the afte
Page 189 and 190:
172E. ÇAĞLAYANwith low budgets w
Page 191 and 192:
174E. ÇAĞLAYANnational awards an
Page 193 and 194:
176E. ÇAĞLAYANDespite lacking a
Page 195 and 196:
178E. ÇAĞLAYANmiddle-aged member
Page 197 and 198:
180E. ÇAĞLAYANbetween Muzaffer
Page 199 and 200:
182E. ÇAĞLAYANLikewise, Eurimage
Page 201 and 202:
184E. ÇAĞLAYAN4.3 Intervention i
Page 203 and 204:
186E. ÇAĞLAYANNezih Erdogăn, th
Page 205 and 206:
188E. ÇAĞLAYANpurpose in creatin
Page 207 and 208:
190E. ÇAĞLAYANAlthough Ceylan’
Page 209 and 210:
192E. ÇAĞLAYANsongs, or crying a
Page 211 and 212:
194E. ÇAĞLAYAN1-2). Reinhard Kuh
Page 213 and 214:
196E. ÇAĞLAYANattempted to show.
Page 215 and 216:
198E. ÇAĞLAYANan aesthetic strat
Page 217 and 218:
200E. ÇAĞLAYANimagination rushes
Page 219 and 220:
202E. ÇAĞLAYAN“wandering there
Page 221 and 222:
204E. ÇAĞLAYANLet us begin with
Page 223 and 224:
206E. ÇAĞLAYANFig. 4.2 Distant:
Page 225 and 226:
208E. ÇAĞLAYANwith the stasis of
Page 227 and 228:
210E. ÇAĞLAYANfuture victim are
Page 229 and 230:
212E. ÇAĞLAYANFig. 4.5 Once Upon
Page 231 and 232:
214E. ÇAĞLAYANthe viewer to ques
Page 233 and 234:
216E. ÇAĞLAYANAtakav, Eylem. 201
Page 235 and 236:
218E. ÇAĞLAYAN———. 1995b.
Page 237 and 238:
CHAPTER 5Epilogue: The Future of Sl
Page 239 and 240:
EPILOGUE: THE FUTURE OF SLOW CINEMA
Page 241 and 242:
Page 243 and 244:
Page 245 and 246:
Page 247 and 248:
Index 1AAbsurdcomedy of, 133, 134de
Page 249 and 250:
INDEX233Bresson, Robert (Diary of a
Page 251 and 252:
INDEX235institutional, xi, 16, 17,
Page 253 and 254:
INDEX237History, Aesthetic, 33, 44,
Page 255 and 256:
INDEX239Vive L’Amour, 111, 112, 1
Page 257 and 258:
INDEX241Reygadas, Carlos (Battle in
Page 259 and 260:
INDEX243Tati, Jacques (Les Vacances
show all

Emre Çağlayan - Poetics of Slow Cinema_ Nostalgia, Absurdism, Boredom-Springer International Publishing_Palgrave Macmillan (2018)

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?