Número 37
Punts de Fuga

Humanism, landscape and the sequence-shot in Béla Tarr’s Sátántangó

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  • Carlos Ruiz Carmona,
  • Catarina Aguiar
Carlos Ruiz Carmona
CITAR - Research Centre for Science and Technology of the Arts
Biografia
Catarina Aguiar
Biografia
DOI: https://doi.org/10.63700/1043

Publicades 2024-01-31

Paraules clau

  • Sequence-shot,
  • Béla Tarr,
  • slow cinema,
  • Hungarian cinema,
  • fim narrative,
  • film analysis.
    • ...Més
    Menys

Com citar

Ruiz Carmona, C., & Aguiar, C. (2024). Humanism, landscape and the sequence-shot in Béla Tarr’s Sátántangó. L’Atalante. Revista d’ Estudis cinematogràfics, (37). https://doi.org/10.63700/1043

Drets d'autor (c) 2024 L'Atalante. Revista d' estudis cinematogràfics

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Resum

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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