FILM LINKS Slow Cinema and the Long Take
To add to my collection of posts on the long take, one from Either/Or/Bored, titled, Slow Cinema and The Long Take.
Nagging feeling it is already mentioned in a previous post. What the heck.
Links in there to: Top 15 Amazing Long Takes (and onwards to other film lists), Pasolini’s essay, Observations on the long take, which Janice Lee has on her page here. Jancis wrote, Damnation (2013), an ekphrasis and then some – with very good introductory and post-script essays by others – inspired by the films of Bela Tarr and the novels of Hungarian novelist László Krasznahorkai, who Tarr worked with on adaptations of his books including Satantango and Damnation. Lee includes impressive frame by frame after the event sketches at the back. For anyone who has frame grabbed a bit to get to grips with a film, the effort was admirable, spoilt only by the sketches being a bit too sketchy to work from, apart from each having an exact timing. So if you’re into Tarr you can watch the movies and look for the time yourself from hers to see what each was referring to..
Must already be linked to somewhere else in COTA. Who cares, a blog is a searchable database.
Mark le Fanu’s, Metaphysics of the “long take”: some post-Bazanian reflections, and to a film mag 16:9 essay by Mathew Flanagan, Towards an Aesthetic of Slow in Contemporary Cinema. Also, the first pic I have seen of Bazin. Didn’t imagine him like that at all.
FILM CINEMATOGRAPHY The long take
Two previous posts in COTA on the long take:
Béla Tarr’s Long Takes (an education in film)
FILM Satantango (Sátántangó) by Béla Tarr {2}
More for my future reference than anything else, three posts in Big Other on the long take, including many Youtube examples. Most of these are not exclusively long takes, but contain them.
[1] Top films of the decade by Greg Gerke (Dec 19 2009)
[2] Brevity, Part 2: Long Takes (January 8 2010)
by A D Jameson
[3] Brevity, Part 3: Long Takes Continued (well, they’re long) (January 10 2010)
by A D Jameson
There is also
which includes Antonioni’s , The Passenger, as does [2]
and:
a post in Daily Film Dose, which includes a selection of YouTube long takes, and says:
The difficulty arises when the camera is forced to move which complicates the logistics ie. Focus changes, lighting changes and hiding production equipment.
An entry in filmreference:
Camera movement and the Long take
It would nice to see more discussion on the merits and demerits of the static long take compared to the tracking, panning, zooming one.
There is Mark le Fanu’s:
Metaphysics of the “long take”: some post-Bazinian reflections
and
Child of the long take: Alfonso Cuaron’s film aesthetics in the shadow of globalization by James Udden
which mentions le Fanu’s essay defending the long take and does a bit more than use Cuaron’s Children of Men [2006], including some quotable quotes such as:
[..] For Bazin, the long take is a principle means of directly linking the cinematic image with phenomenological reality, which the film medium can directly record. The long take supposedly ensures a truth of the spatial and temporal relations within that said reality. The long take allows the world to be seen as it is–objectively–without the imposition of the filmmaker’s world view, which occurs when one edits and thus manipulates cinematic time and space. And according to Bazin, this in turn this offers the possibility of revealing the ambiguity of the world before we impose our ideas on it.
In The Long Take: Finding Hope Amongst the Chaos, Bryan Nixon deals specifically with The Children of Men and the long take. (i.e. no diversions into Bazinland!)
Two film posts
[1] The Long Take that Kills:Tarkovsky’s rejection of montage
Benjamin Halligan
[2] Girish’s post The Long Take
are already linked to in a previous post in COTA:
FILM Satantango (Sátántangó) by Béla Tarr {2}
Other sources
Pier Paolo Pasolini – Observations on the long take [1967]
Toward a synthesis of cinema – a theory of the long take moving camera, Part 1
Toward a synthesis of cinema – a theory of the long take moving camera, Part 2
by
David George Menard
Orson Welles, Gregg Toland and the Long Take
by
Ned Casey
The Mobile Mise en scene by Lutz Bacher
GoogleBook of Intro and chapter 1 [67 pages].
Time Lost or Spent or Not Yet Had: An Argument For the Long Take
by
Brett Mccracken
Slow Cinema & The Long Take
by
A. V. Cheshire
Notes on the Fetishism of the Long Take in Rope
by
Jean-Pierre Coursodon
Re-viewing Mizoguchi, Master Choreographerof the Long Take
by
Freda Freiberg
The Long Take: Finding Hope Amongst the Chaos
by
Bryan Nixon
In praise of the long take
by
John Patterson
cutting on the action 