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1981
Volume 14, Issue 2
  • ISSN: 2042-7891
  • E-ISSN: 2042-7905

Abstract

Through its mixture of similarities to and differences from typical slow cinema practices, Roy Andersson’s (2000) offers a unique perspective on what slow cinema can be. This is apparent in the film’s and cinematography. While the use of long takes, minimalist performances and deep focus fit comfortably within slow cinema tradition, differentiates itself with its expansive , vast set designs and stationary camera. The film further expands on slow cinema with its inclusion of tragicomic humour, which complements slow cinema’s modernist re-appropriation.

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2024-08-20
2024-10-09
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