Issue 37
Vanishing Points

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
Bio
Catarina Aguiar
Bio
DOI: https://doi.org/10.63700/1043

Published 2024-01-31

Keywords

  • Sequence-shot,
  • Béla Tarr,
  • slow cinema,
  • Hungarian cinema,
  • fim narrative,
  • film analysis.
    • ...More
    Less

How to Cite

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

Copyright (c) 2024 L'Atalante. Journal of film studies

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Abstract

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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