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FEATURE. Whereas a quickening of pace is a major characteristic of the history of mass-market cinema, a slowing down of pace in niché-market cinema has developed alongside it – not merely as an oppositional practice but also as an aesthetic strategy in its own right. Discussing the work of filmmakers such as Tsai Ming-liang, Gus Van Sant and Albert Serra, Matthew Flanagan argues that one can detect a unique formal and structural design: an aesthetic of slow.