- 27 December 2016
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THE MOOD OF BOREDOOM AND CONTEMPORARY ART CINEMA.
FUNDAMENTAL-ONTOLOGICAL VIEW ON CINEMATIC EXPERIENCE
Title in the language of publication: |
НАСТРОЕНИЕ СКУКИ И СОВРЕМЕННЫЙ АВТОРСКИЙ КИНЕМАТОГРАФ. ФУНДАМЕНТАЛЬНО-ОНТОЛОГИЧЕСКИЙ ВЗГЛЯД НА КИНООПЫТ |
Author: | Alexey Bocharov |
Issue: |
HORIZON. Studies in Phenomenology. Vol. 5, №2 (2016),  226–247 |
Language: | Russian |
Document type: | Research Article |
DOI : 10.18199/2226-5260-2016-5-2-226–247 | PDF (Downloads: 3344) |
Abstract
This article analyzes the spectator practices as they relate to the strategies of auteur cinema.
Traditionally, the viewer experiences in the film are discussed in the context of engagement and
clinging. The author tries to actualize a different perspective, associated with the specifics of the
contemporary art Cinema – a situation of emptiness, lack of events, in which the audience is bored
in the cinema hall. Therefore, the article attempts to justify usage of the phenomenological and
ontological philosophical language for film analysis through thematizing the cinematic experience.
The specific method is phenomenological reduction, embodied in the act of contemplating the
cinematic experience as a phenomenon. Heideggerian analytics of boredom sentiment and the direct
experience of contemporary cinema are fundamental for this article. The analysis of Bela Tarr’s
film “The Turin Horse” demonstrates that the film can cause boredom by means of its unique time
technique, as it requests the viewer to remain in its not-clear-how-much-lasting time for excessively
long. The viewer finds oneself put in the position of extreme aesthetic, where one is to contact with
the film in a blank way, by no means. The viewer is passivated, experiencing the movie through
every moment of the present, embracing the film “as a whole”. Due to the long time, through lack
of sharpness of thought the bored is both detached and involved. By means of non-public, personal
passivity, the viewer is immersed into the cinematic and, therefore, focused on the film “as a whole”,
but still dispersed towards putting together the grains of the film: its details, repetitions of everyday
situations. Therefore, it is not through reflection, but through the location in the event and affect,
through questioning, that the viewer gets closer to the meaning of the film.
Key words
Cinema, cinematic experience, boredom, time, phenomenology, non-intellectual cinema
strategies.
References
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