The Ennobling Cinema of the Peripheries
Ewa Fiuk
ewa.fiuk@tlen.plInstitute of Art, Polish Academy of Sciences (Poland)
http://orcid.org/0000-0002-9908-8510
Abstract
The article is a review of the book Czas w kinie. Doświadczenie temporalne w “slow cinema” [Time in Cinema: Temporal Experience in “Slow Cinema”] (2019) by Marta Stańczyk. The reviewer presents the structure of the book and discusses its content in detail. She appreciates Stańczyk’s creative potential, but also argues with some of her assumptions. The review begins with the words by Theodor W. Adorno, who once defined film as a radical medium of the culture industry. The reviewer claims that one of the main purposes of Stańczyk’s book is to contradict this view and to point out the uniqueness of slow cinema against (not only) the contemporary film production, since films representing slow cinema are in fact not so much stories to watch but states to experience. Typical for those states are some affective reactions (for example an “ennobling” boredom) induced by time. Time itself is, in Stańczyk’s view, one of the most important parameters of the cinematic experience in the case of slow cinema, and hence its fundamental artistic concept.
Keywords:
slow cinema, time, affect, boredom, realismReferences
Adorno, T. W. (1999). Minima moralia. Refleksje z poharatanego życia (tłum. M. Łukasiewicz). Kraków: Wydawnictwo Literackie. (Publikacja oryginału: 1951).
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Ben-Yakov, A., Henson, R. N. (2018). The Hippocampal Film Editor: Sensitivity and Specificity to Event Boundaries in Continuous Experience. The Journal of Neuroscience, 38 (47), ss. 10057-10068. https://doi.org/10.1523/JNEUROSCI.0524-18.2018
DOI: https://doi.org/10.1523/JNEUROSCI.0524-18.2018
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Stańczyk, M. (2019). Czas w kinie. Doświadczenie temporalne w „slow cinema”. Kraków: Wydawnictwo Uniwersytetu Jagiellońskiego.
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Authors
Ewa Fiukewa.fiuk@tlen.pl
Institute of Art, Polish Academy of Sciences Poland
http://orcid.org/0000-0002-9908-8510
Film scholar, Assistant Professor at the Institute of Art of the Polish Academy of Sciences (Warsaw); film writer and contributor to many magazines, periodicals and books; translator and interpreter working in Polish and German; editor of Kwartalnik Filmowy. Author of the books Inicjacje, tożsamość, pamięć. Kino niemieckie na przełomie wieków [Initiations, Identity, Memory: German Cinema at the Turn of Centuries] (2012) and Obrazo-światy, dźwięko-przestrzenie. Kino Toma Tykwera [Worlds of Images, Dimensions of Sounds: Cinematic Work of Tom Tykwer] (2016).
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In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
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