Modus pasivity a spirituální styl Satanského tanga
| Title in English | The Mode of Passivity and the Spiritual Style of Sátántangó |
|---|---|
| Authors | |
| Year of publication | 2001 |
| Type | Article in Proceedings |
| Conference | Sborník prací Filozofické fakulty brněnské univerzity |
| MU Faculty or unit | |
| Citation | |
| Field | Mass media, audiovision |
| Keywords | Béla Tarr; Attila Janisch; Krzysztof Kieślowski; Robert Bresson; Wim Wenders |
| Description | The central concept in this essay is an idea of the mode of passivity in the fiction cinema. When the figure in some fiction film does not act but rather "is acted", when the figure for example does not walk, but "is walked", then we can talk about the mode of passivity. This mode, used in the films by Krzysztof Kieślowski, Attila Janisch, Robert Bresson or Wim Wenders, can be created by a special way of framing, by special angles of the camera, by very long takes, by a special way of acting in the "puppet moving" style, by contrasting or mechanical repetition of musical elements. The second part of this article includes notes about Sátántangó, the seven hours long masterpiece directed by Hungarian filmmaker Béla Tarr and based on a novel by László Krasznahorkai. The shots of in Sátántangó are taken from the point-of-view of some very, very slow God (or Devil). And the central dancing sequence in this film is an excellent example of the mode of passivity. |