The second last feature I would like to mention is the use of monochrome aesthetics. It is something that cannot be applied to Slow Cinema as a whole. In fact, the majority of slow films I know were made in colour. However, I initially set out to read Lav Diaz's films in the light of Chinese painting, and for his work, the reasons behind the use of monochrome aesthetics work perfectly.
The Song period (c 960-1237) was described as the golden age of Chinese painting. Painting was finally accepted as one of the fine arts. It was also . . .
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