Роль «камери-спостерігача» в творенні повільного кіно

This chapter begins by navigating the terms of the Slow Cinema Debate and then moves to an extensive review of the ways in which commentators theorized slow cinema as an aesthetic, industrial and political phenomenon. As Caglayan considers slow cinema as a nostalgic rebirth of modernist art film, the second section focuses on global art cinema, with an overview of both the films’ aesthetic features and industrial context. The chapter reasserts the need to consider slow cinema both as an aesthetic and institutional discourse, focusing on slow cinema’s extended use of long takes and dead time as well as its reliance on the networks of international film festivals. In order to explain the critical methodologies employed in the book, Caglayan summarizes historical poetics as a conceptual framework that considers artworks from an aesthetic and historical perspective.

This thesis examines Slow Cinema, a stylistic trend within contemporary art cinema, although one with a longer pre-history. Its distinguishing characteristics pertain ultimately to narration: the films, minimalistic by design, retard narrative pace and elide causality. Specifically, its aesthetic features include a mannered use of the long take and a resolute emphasis on dead time; devices fostering a mode of narration that initially appears baffling, cryptic and genuinely incomprehensible and offers, above all, an extended experience of duration on screen. This contemporary current emerges from a historical genealogy of modernist art films that for decades distended cinematic temporality and, furthermore, from the critical and institutional debates that attended to it. This thesis, therefore, investigates Slow Cinema in its two remarkable aspects: firstly, as an aesthetic practice, focusing on the formal aspects of the films and their function in attaining a contemplative and ruminative mode of spectatorship; and, secondly, as a historical critical tradition and the concomitant institutional context of the films’ mode of exhibition, production and reception. As the first sustained work to treat Slow Cinema both as an aesthetic mode and as a critical discourse with historical roots and a Janus-faced disposition in the age of digital technologies, this thesis argues that the Slow Cinema phenomenon can best be understood via an investigation of an aesthetic experience based on nostalgia, absurd humour and boredom, key concepts that will be explored in respective case studies. My original contribution to knowledge is, therefore, a comprehensive account of a global current of cultural practice that offers a radical and at times paradoxical reconsideration of our emotional attachment and intellectual engagement with moving images. The introduction chapter begins with a discussion of the Slow Cinema debate and then establishes the aims of the thesis, its theoretical framework and elaborates on the adopted methodologies, namely formal analysis and aesthetic historiography. Chapter 2 examines Bela Tarr in light of the evolution of the long take and attributes Tarr’s use of this aesthetic device as a nostalgic revision of modernist art cinema. Chapter 3 explores the films of Tsai Ming-liang, which embrace incongruous aesthetic features, envision an absurdist view of life, create humour through duration and are situated within the minimalist trends of the international film festival circuit. Chapter 4 focuses on Nuri Bilge Ceylan, whose films emerge from the aftermath of the collapse of a domestic film industry and intervene into its historical heritage by adopting fundamental features of boredom as well as transforming its idleness into an aesthetically rewarding experience. The conclusion chapter incorporates the case studies by stressing the role of Slow Cinema within the complex negotiations taking place between indigenous filmmaking practices and the demands of global art cinema audiences as well as the circulation of art films through networks of film festivals and their respective funding bodies.

Time and the Everyday in Slow Cinema examines the phenomenon of Slow cinema, a style defined by its lingering focus on quotidian activities and extended durations. Rosa Barotsi argues that while the style emerges from a tradition of durational filmmaking and resonates with movements advocating for deceleration, it is also deeply entangled in the structures of late capitalism, creating a dynamic tension between radicalism and conservatism. This book situates the trend between artistic innovation and institutional commodification, ultimately raising critical questions about spectatorship, cinematic time, and the politics of cultural value.

Automatic camera systems produce very basic animations for virtual worlds. Users often view environments through two types of cameras: a camera that they control manually, or a very basic automatic camera that follows their character, minimizing occlusions. Real cinematography features much more variety producing more robust stories. Cameras shoot establishing shots, close-ups, tracking shots, and bird’s eye views to enrich a narrative. Camera techniques such as zoom, focus, and depth of field contribute to framing a particular shot. We present an intelligent camera system that automatically positions, pans, tilts, zooms, and tracks events occurring in real-time while obeying traditional standards of cinematography. We design behavior trees that describe how a single intelligent camera might behave from low-level narrative elements assigned by “smart events”. Camera actions are formed by hierarchically arranging behavior sub-trees encapsulating nodes that control specific camera semantics. This approach is more modular and particularly reusable for quickly creating complex camera styles and transitions rather then focusing only on visibility. Additionally, our user interface allows a director to provide further camera instructions, such as prioritizing one event over another, drawing a path for the camera to follow, and adjusting camera settings on the fly. We demonstrate our method by placing multiple intelligent cameras in a complicated world with several events and storylines, and illustrate how to produce a well-shot “documentary” of the events constructed in real-time.Keywordsintelligent camerasbehavior treescamera controlcinematographysmart events

Clara Orban. <i>Slow Places in Béla Tarr’s Films: The Intersection of Geography, Ecology, and Slow Cinema</i>

Caglayan explores the films of Tsai Ming-liang and their relationship to Taiwan New Cinema. Tsai garnered critical praise at international film festivals due to an increasing critical interest in East Asian national waves. But his films display an incongruous mix of conflicting genre conventions, which are detailed in reference to minimalist aesthetics and camp sensibility. Tsai’s main narrational strategy preserves the rudimentary causal links between story actions but uses dead time, stillness and ambiguity in delaying narrative comprehension, resulting in a type of humour that recalls the Theatre of the Absurd. This art-historical genealogy is explored through Tsai’s use of sound, with an emphasis on incongruity as the defining element of absurdism. The analysis concentrates on Goodbye, Dragon Inn (2003), a film that takes cinema-going as its subject matter and the discussion concludes with the nostalgic overtones of cinephilic practice and how these debates find their critical currency in slow cinema.

Within the loose group of studies that are sometimes labelled Heideggerian cinema – studies in which scholars consider film in conjunction with Heidegger's philosophy – little attention has been paid to Heidegger's actual view of cinema. This omission is not only odd (Heidegger's view of film would seem essential for a Heideggerian cinema) but it is also problematic. In the off-hand comments Heidegger directs towards film throughout his collected works he criticises the medium for its covering over of Being, a fact that makes engaging with film through Heidegger's thinking a questionable project. The present article aims to address this omission and to provide a conception of Heideggerian cinema that does not ignore, but answers, Heidegger's criticism. It argues that it is not the technological nature of cinema that is the source of Heidegger's hostility towards the medium but his conception of the film-photographic image as a transparent copy of the world. It is on this basis that cinema is denied the capacity to manifest Being and hence is subject to critique. I then argue that Thompson's notion of cinematic excess reveals that the film-photographic image need not be as transparent as Heidegger assumes and that a cinematic presentation of Being is possible. To explore this idea further the article considers the use of dead time by Michelangelo Antonioni, particularly in his film L'eclisse.

Modern European cinema and love examines the work of nine European directors working from the 1950s onwards whose films contain stories about and reflections on romantic love and marriage. The directors are: Ingmar Bergman, Alain Resnais, Michelangelo Antonioni, Agnès Varda, François Truffaut, Federico Fellini, Jean-Luc Godard and Eric Rohmer. There is also an opening chapter on Jean Renoir’s The Rules of the Game. The book is informed by theories on love and marriage proposed by American philosopher Stanley Cavell. Two of Cavell’s main concepts, acknowledgment and remarriage, play key roles in the book. Cavell envisions, especially in his writings on cinema, a notion of marriage that is based on love and mutual equality between the members of a romantic couple. The argument of Modern European cinema and love is that some of the key filmmakers of European cinema after 1950 make themes of acknowledgment and remarriage central to their concerns. The book also engages in extended discussions of Leo Bersani’s writings on Jean-Luc Godard, Eric Rohmer and others in terms of what Bersani calls connectedness. While the book is ultimately critical of Bersani’s theories, his work nevertheless allows the full scope of the material in Modern European cinema and love to achieve its aims.

Scenes in a Library:Alain Resnais and Toute la mémoire du monde Steven Ungar (bio) You never know what you are filming. — Chris Marker, Le Fond de l'air est rouge (1977) One Film in Another What interest might a 1956 documentary short about a library hold today for the historically-minded spectator? The pages that follow explore the place of Alain Resnais's 1956 documentary, Toute la mémoire du monde (All the World's Memory) among the eight short subjects he directed before completing his first feature-length fiction film, Hiroshima mon amour, in 1959. In particular, I consider Toute la mémoire du monde as a supplement to Nuit et brouillard, the 30-minute documentary on Nazi concentration and death camps that Resnais completed a year earlier.1 Within a longer duration, I also situate Toute la mémoire du monde among a corpus of postwar documentaries that engage aspects of modernization in France during a period of decolonization coincidental with the emergence of an art and a universe in the aftermath of the concentration camp (Cayrol and Rousset). Much as Edward Dimendberg has argued recently concerning Le Chant du stryrène (The Song of Styrene), I contend that a reconsideration of Toute la mémoire du monde rewards "close reading with a veritable return of repressed geopolitical relations" in late Fourth-Republic France (Dimendberg, 65). My epigraph from Chris Marker's cinematic account of failed revolution following 1967 suggests that only in retrospect might one fully understand what one sees—or, in this case, films—in the heat of the moment. Marker's cautionary remark is especially apt with reference to the early postwar period during which chemical processes of development imposed a necessary delay, whose consequences often affected the epistemological status associated with photography and cinema. (I am thinking here of the characterization of the photographer Thomas [David Hemmings] as accidental witness in Michelangelo Antonioni's Blow Up [1966]). At stake for me in this process of delayed disclosure is a consideration of how best to account for a seemingly minor film like Toute la mémoire du monde whose [End Page 58] complexity as text and document arguably becomes all the more evident some fifty to sixty years after the fact. Here, then, are working questions that have generated the pages that follow: What might inquiry into the genesis and production of Toute la mémoire du monde tell us today about the industrial, social, and political conditions in which it was made? How did Resnais's film of scenes in a library disclose aspects of daily life during a decade marked increasingly by silence surrounding Vichy and division concerning the fate of French Algeria? What assumptions concerning the concepts of library, archive, and memory might Toute la mémoire du monde question, since its ostensible subject was a state agency of record whose mission was to collect and conserve printed materials and other objects whose inclusion qualified them as national treasures? The eight documentary short subjects Alain Resnais made before Hiroshima mon amour are best understood as a subset of some sixteen or so postwar documentaries that I consider as responding—each in its own way—to Jean Vigo's 1930 call for a social cinema whose treatment of provocative subjects would move spectators in ways that only cinema could move them (Vigo, 60-63). The films in this larger set include Aubervilliers (Eli Lotar, 1945), Paris 1900 (Nicole Védrès, 1947), Le Sang des bêtes (Georges Franju, 1949), Hôtel des Invalides (Franju, 1952), Les Statues meurent aussi (Resnais and Chris Marker, 1953), Dimanche à Pékin (Marker, 1956), Lettre de Sibérie (Marker, 1957) Moi, un Noir (Jean Rouch, 1957), L'Opéra Mouffe (Agnès Varda, 1958), Chronique d'un été (Rouch and Edgar Morin, 1961), and Le Joli mai (Marker, 1962). Since the sole film Vigo cited in 1930 was Luis Buñuel and Salvador Dalí's 1928 Un Chien andalou, the social cinema he had in mind should not be equated with instances of cinéma engagé such as Jean Renoir's La Vie est à nous (1936), commissioned by the French Communist Party at the height...

The People’s Republic of Poland, an undemocratic state that existed from 1947 to 1989, was politically dependent on the Soviet Union. It relied on its cultural policy of heavily rationing access to products made in capitalist countries; few exceptions were made to this policy, but of them, Italian director and filmmaker Michelangelo Antonioni’s filmography was one of the most important, even though not all of his films were released to the Polish public until 1989. This article focuses on the critical reception of Michelangelo Antonioni’s ‘tetralogy of alienation’ in the People’s Republic of Poland during the 1960s and 1970s. Antonioni’s tetralogy comprises L’avventura (The Adventure), La notte (The Night), L’eclisse (The Eclipse) and Deserto Rosso (Red Desert). In this article, I examine how Polish critics grappled with the differences between the cinematic world depicted in these films and the realities of the ‘people’s democracy’ in Poland. I focus on the cultural reception of these films, utilizing reviews published in film magazines, cultural magazines and the daily press from the period.

Purpose: In addition to the recent complexities between social welfare facilities, it is necessary to understand the characteristics of spatial composition of various types of complexation and to provide basic data for future social welfare complex planning. The purpose of this study is to analyze the characteristics and spatial composition of the complex tendency of facilities with various uses along with the complexity of social welfare facilities. Method: First, the concept of social welfare facilities was examined and trends were identified by analyzing previous studies, policies, and related laws and systems on complexation. Second, field surveys for 10 cases of social welfare facilities were conducted in June - July 2019, and the characteristics such as size and spatial components were derived for each case. Third, this study analyzed the complex composition method and the types and characteristics of shared spaces according to the layout type of the building and identified the complex type and spatial composition characteristics of social welfare facilities. Result: This study investigates cases by type and analyzes the characteristics of spatial composition according to the trend of complexation of social welfare facilities, and it is meaningful to use them as basic data in recent complex planning.

This study analyzes the welfare services and spatial composition of social welfare centers that represent complex welfare facilities in order to provide basic information for the spatial planning of social welfare centers. We examined 15 social welfare centers built in the 2000s. A literature review and case study were used as research methodology. The findings are as follow. First, services provided at the surveyed facilities overlapped for seniors and the handicapped. Most social welfare centers provided welfare services for seniors, young children, and teenagers. Second, the proportion of common area, program rooms was high for spatial composition. Third, front access by car was most common (used at nine centers) for the design of the access area and used by. Fourth, shared entry and exit was most common (used at 10 centers) for the design of the entrance. Fifth, regarding space combining style, a mixed style was most frequently used (observed at seven centers) where different private areas for different service users were partly mixed on certain floors. Sixth, a corridor type was most common (used at seven centers) for the design of a corridor space where visitors could walk along the corridor to access individual rooms. Based on the findings, we propose spatial composition of social welfare centers to promote mingling and exchanges among users of different generations.

Background and objective: This study aimed to examine the construction intention, spatial composition, and landscape characteristics of Sojinjeong Garden, located in Geochang-gun, Gyeongsangnam-do, through a literature analysis and field survey. The findings can be summarized as follows.Methods: The research method was a combination of literature review and field surveys. The history of the construction of Sojinjeong and its garden was examined through a review of the literature, while the spatial composition and landscape characteristics of the garden were analyzed through field surveys and interviews.Results: Sojinjeong Garden was created by Confucian scholar Wucheon Do Jae-gyun in the 1920s. In the background to this garden's construction, the placeness related to Nammyeong Jo Shik, a great Confucian scholar of the Joseon period, played a large role. Do Jae-gyun, the creator of the garden, placed the garden centered on Sojinjeong and Imcheongjeong where Poyeon could be seen, keeping in mind the relationship between his ancestor, Do Hee-ryeong, and Nammyeong. He also created a colony of &lt;i&gt;Lagerstroemia indica&lt;/i&gt;, which is in full bloom in summer, around the place where they took a wind bath. Various landscape elements of Sojinjeong Garden are distributed throughout Gusa Village, including the adjacent Okgye Stream, Poyeondae, and Banwhandae. These landscape elements can be roughly classified into scenic views inside and outside the garden, structures, and vegetation. The landscape structure of the garden is divided into inner garden, outer garden, and area of influence based on the location of the landscape elements, a typical structure for an annex garden. The scenic significance contained in Sojinjeong Garden is converged into the nickname of Sojinjeong Pavilion and the word &lt;i&gt;Yokgi&lt;/i&gt; (浴沂; &lt;i&gt;Yuyi&lt;/i&gt; in Chinese) that appears in a poem recited in the garden. This represents the intent of the creator of the garden, who wanted to make Sojinjeong Garden a place where he could cultivate himself in harmony with nature, away from the mundane world.Conclusion: Sojinjeong Garden is an annex garden of the Nammyeong School, built in the western part of Gyeongsang-do, and is considered to be a very valuable relic. However, the original landscape of Sojinjeong Garden is changing, and a reasonable management plan should be sought by regarding it as an integrated garden relic and making an objective evaluation.

In the modern performance of ancient music, one of the central tasks of singers is the desire to decorate the melody independently. Taking into account the lack of knowledge and skills of Baroque improvisation among domestic performers, the decorations used often represent, in fact, only a technical element that needs to be dealt with. In this case, the ornaments have no artistic value, they sound faded, not corresponding to the main purpose – to emphasize the affect and enhance its expressiveness. The proposed article is aimed at solving topical problems in the field of Baroque performance related to vocal ornamentation and the transmission of the affect of the composition. The author of the article provides historical data on the characteristics of melisms and their focus on the expression of certain affects, which determines the scientific novelty of the study. The research methodology is based on a historical approach. Methods of analysis and synthesis are also of particular importance, thanks to which, when studying disparate data, it was possible to recreate the history of ornamental art in connection with the opera traditions of the first half of the XVIII century. The author's position is that any kind of ornamentation in ancient arias should be used in the melodic line in order to emphasize and enhance the affect of the composition being performed. When performing compositions of the time in question, it is important for a singer to understand the importance of decorating a melody as one of the main means of expression and, accordingly, be guided by the choice of jewelry. The author draws conclusions about the relationship and mutual influence of ornamentation and affect in the Baroque music. The material of the article and the conclusions will be useful to singers performing ancient music for its stylistically correct interpretation.

In the context of globalisation of economic relationships, intensification of transportation and technological solutions, the methodology of research and development of transport infrastructure requires improvement and adaptation to dynamically changing conditions of the transportation market.The objective of the work is to formalise and to develop a methodology for studying transport infrastructure, including specialised isothermal rolling stock. The initial data on cargo turnover were processed by the methods of mathematical statistics, and the technical parameters of innovative isothermal rolling stock were substantiated using the methods of T. Saaty analytic hierarchy process, expert assessment, and update engineering design process.The article provides an analysis of the cargo turnover of perishable goods transported by railway refrigerated transport in Russia in terms of volumes, types of rolling stock, and origin. The main origin-destination cargo flows are presented by types of transportation (domestic, transit, export, import transport operations). It has been determined that key factors in development of isothermal rolling stock for transportation of perishable goods in the transport system of the country refer to transportation of meat, fish, beer, soft drinks, juices in the segment of domestic transportation. The analysis shows that there are no structural and quantitative shifts in terms of types of transportation and types of cargo.The strategy for development of vehicles for transportation of perishable goods and the methodology are presented in a block diagram, in sections: «statement of the research problem», «decision-making stages», «decision implementation methods and algorithms». It is shown that the problem includes not only development of stationary railway infrastructure and of stages in development of isothermal rolling stock, but also the need to solve organisational, technical, technological, regulatory, and legal problems, as well as tariff regulation.The issues of methodology for designing an innovative isothermal rolling stock are considered referring to possible prospects for its development and areas of operation, as well as to a set of engineering and technological solutions. The study of linear dimensions and useful section of the loading space of various types of isothermal bodies shows the advantage of wagons and swap bodies in comparison with large-capacity refrigerated containers.It is proposed to design a prototype of innovative isothermal rolling stock on the basis of a universal isothermal swap body, configured with various types of refrigerating equipment with specified technical parameters that best meet the requirements of the modern transportation market. The areas of possible use of various types of isothermal rolling stock are analysed considering long-term forecasts for development of agricultural, fishing and processing industries.