Alongside the modernist art cinema lineage, Campany identifies a history of experimental filmmakers (including Frampton, Snow, and Warhol) that have also been influential in enabling and shaping contemporary experiments with cinematic slowness.Īdopting Campany’s perspective, then, enables a broader conceptualization of the field of slow cinema. Indeed, a number of artists working with film and video (such as David Claerbout, Shirin Neshat and Fiona Tan) have also been interrogating and working with specific formal devices associated with slow cinema, such as the long take. David Campany, however, has noted that cinematic explorations of slowness have manifested not only in art-house cinemas, but also in galleries. Theoretical explorations of the movement have often identified that these filmmakers are indebted to a lineage of modernist art cinema, including such significant influences as Antonioni, Akerman and Tarkovsky. This paper will explore the ways in which key characteristics of slow cinema enable a bridging of the gaps between these exhibition locations, and an interrogation of the distinctions that exist between ‘art cinema’ and experimental film.Ī canon of slow cinema art-house directors has been swiftly established in recent years.
AbstractĪ number of key figures who have been discussed in relation to slow cinema – including James Benning, Sharon Lockhart, Ben Rivers, and Apichatpong Weerasethakul – have had their work screened in both cinema auditoriums and gallery spaces. Arrested Movement: Slow film between cinema and gallery.
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