Slow Cinema and Chinese Painting I

The results of research into this area will come in parts over the next two or three weeks as it would otherwise be too long a blog entry.

For those of you who have been reading this blog since the beginning, research into painting in the context of Slow Cinema isn’t new. This is, in fact, how I started my research because I found it fascinating. There was this strong sense of slow films being arty, in whatever way, until I found a connection to painting.

A link to Chinese painting appeared by accident and stems from pure curiosity on my side. When I flicked through books about the subject, it felt as if a slow film was unraveling right in front of my eyes. The next few blog entries will cover the context of Chinese painting and Eastern philosophy.

I’m not going to say anything today, though. I merely want to leave you with two images you can think about for a few days. One of them is a copy of a traditional Chinese landscape painting, the other is a screenshot of Lav Diaz’s Death in the Land of Encantos (2009). Both of them have been used in conference presentations.

Vertical Scrolls
Vertical Scrolls
Vertical (Film) Scrolls
Vertical (Film) Scrolls

Happy thinking!

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4 Comments

  1. […] to go into more detail about Slow Cinema and Chinese painting. You can find Part 1 and 2 here and […]

  2. […] want to continue with the slow and painterly journey today. You can find the previous three parts here, here and here. Last time, I briefly outlined the theme of verticality both in Chinese painting and […]

  3. […] extreme durational moving images as paintings. Nadin Mai first noticed this in her posts about Slow Cinema and Chinese Painting, and I want to adapt her analogy in order to propose that audiences for extreme durational moving […]

  4. […] the very beginning of my doctoral research, I linked Slow Cinema to static art, especially Chinese painting. Traditional Chinese painting, I found, had characteristics that could also be found in the films […]

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