Overview
- First history of durational cinema as such, distinguishing it from slow cinema
- Cuts across the critical categories, from avant-garde film to video installation to documentary
- Proposes that durational cinema is predominantly minimal, but also included a more encyclopaedic kind of filmmaking
Part of the book series: Experimental Film and Artists’ Moving Image (EFAMI)
Access this book
Tax calculation will be finalised at checkout
Other ways to access
Table of contents (14 chapters)
-
Front Matter
-
First Wave: New York in the 1960s
-
Front Matter
-
-
Third Wave: The Twenty-First Century and the Digital Era
-
Front Matter
-
-
Back Matter
Keywords
About this book
This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol’s durational cinema of subtraction is quite different from Jacobs’s durational cinema of socialdisgust, while Lav Diaz’ durational sublime is quite different from Kevin Jerome Everson’s unblinking studies of African-American working people.
Authors and Affiliations
About the author
Bibliographic Information
Book Title: Durational Cinema
Book Subtitle: A Short History of Long Films
Authors: Michael Walsh
Series Title: Experimental Film and Artists’ Moving Image
DOI: https://doi.org/10.1007/978-3-030-76092-2
Publisher: Palgrave Macmillan Cham
eBook Packages: Literature, Cultural and Media Studies, Literature, Cultural and Media Studies (R0)
Copyright Information: The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2022
Hardcover ISBN: 978-3-030-76091-5Published: 09 December 2022
Softcover ISBN: 978-3-030-76094-6Published: 09 December 2023
eBook ISBN: 978-3-030-76092-2Published: 08 December 2022
Series ISSN: 2523-7527
Series E-ISSN: 2523-7535
Edition Number: 1
Number of Pages: XIII, 289
Topics: Experimental Film, Film History, Film Theory