What follows are bits and pieces from an article I drafted six years ago about the Andrei Tarkovsky’s Zerkalo and Daniel Frampton’s filmind. At the time, I approached several scholars with some thoughts on the issue and…
This morning, I left the house at 8 o’clock. I went to a bridge that is close to my flat and that overlooks the canal Saint Martin in Rennes. I waited a bit but decided…
Thanks to a very good and impressive collection of DVDs in my local library/cultural centre, I had the chance to discover the works of Jean-Marie Straub and Danièle Huillet. Finally! They’re often mentioned in the…
What does it mean to wait? What does “waiting” mean nowadays when everyone seems to be always, eternally busy? Are we still waiting, or have we essentially replaced waiting by simply doing stuff? I use…
Something that has always fascinated me is film spectatorship in regards to Slow Cinema. While film spectatorship as a subject isn’t entirely absent from research, it is not as big a subject as it deserves….
Béla Tarr’s The Man from London (2007) impressed me with its images that had been shot at night. The almost complete blackness of the night, seen through the eyes of a watchman in his tower at…
If there is one thing that is visible in my research of the last three to four years, then it is my interest in why certain films attract me more than others. I’m fascinated by…
In a previous post I mentioned my own personal experience with slow films in the context of post-traumatic stress disorder. Given the comments I had received after publishing that specific post, it seems as though…
At 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 of Lav…
I have taken today’s post title from Julian Jason Haladyn’s wonderful book Boredom and Art: Passions of the Will To Boredom (2015), which I have read with pleasure. Haladyn is, effectively, speaking about more than just…