Humanism, landscape and the sequenceshot in Béla Tarr's Sátántangó

Carlos Ruíz Carmona, Ana Catarina Aguiar

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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?
Original languageEnglish
Pages (from-to)161-178
Number of pages18
JournalAtalante
Issue number37
Publication statusPublished - Jan 2024

Keywords

  • Béla Tarr
  • Film analysis
  • Film narrative
  • Hungarian cinema
  • Sequence-shot
  • Slow cinema

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