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 social disgust, while Lav Diaz’ durational sublime is quite different from Kevin Jerome Everson’s unblinking studies of African-American working people.
Author(s): Michael Walsh
Series: Experimental Film and Artists’ Moving Image
Publisher: Palgrave Macmillan
Year: 2022
Language: English
Pages: 287
City: Cham
Prefatory Notes
Acknowledgments
Contents
About the Author
Chapter 1: Introduction
References
Part I: First Wave: New York in the 1960s
Chapter 2: Andy Warhol’s Sleep: Duration as Subtraction
Introduction
Formal Analysis
Issues and Interpretations
References
Chapter 3: Ken Jacobs’ Star Spangled to Death: Duration and Social Disgust
Introduction
Found Films
Sound
Conclusion
References
Chapter 4: James Benning: Minimal, Ultra-Minimal, Beyond the Zero, and Multiple
Introduction
small roads: Minimal
BNSF: Ultra-Minimal
Faces: Beyond the Zero
YouTube: Multiple
References
Part II: Second Wave: Europe After 1968
Chapter 5: Chantal Akerman 1: A Durational City Symphony
La Chambre (1972)
Hotel Monterey (1972)
News from Home (1976)
References
Chapter 6: Durassian Duration: Love, Loss, and Longing
Duration as Trauma and Tragedy: La Femme du Gange (Woman of the Ganges, 1974)
Hypothetical Duration: Le Camion (1977)
Aurélia Aurélia Aurélia: Durational Image and Dramatic Sound
B-Roll Duration: Agatha Et Les Lectures Illimitées (Agatha and the Unlimited Readings) (1981)
References
Chapter 7: Claude Lanzmann: Duration and Gravitas
References
Chapter 8: Jean-Marie Straub and Danièle Huillet: The Deep Time of Duration
Workers, Peasants (2000)
Itinéraire de Jean Bricard (Itinerary of Jean Bricard, 2007)
The Aquarium and the Nation (2015)
References
Part III: Third Wave: The Twenty-First Century and the Digital Era
Chapter 9: Chantal Akerman II: 35 Years on the Durational Plane
D’Est/From the East (theatrical version, 1993)
Là-Bas (2006)
NOW (2015)
References
Chapter 10: David Claerbout: Duration and Heterochrony
References
Chapter 11: Lav Diaz and the Durational Sublime
References
Chapter 12: Wang Bing: Duration, Deindustrialization, and Industrial Work-Discipline
Introduction
West of the Tracks (2003)
Bitter Money
Crude Oil
References
Chapter 13: Kevin Jerome Everson: Duration and the Black Working Class
References
Chapter 14: Conclusion
References
Index
