TAILIEUCHUNG - Cinema as Art and Philosophy in Béla Tarr's Creative Exploration of Reality

Taken as a whole, the German cinema is both more and less than the sum of its films. When one thinks of individual titles, quite a few, especially from the 1920s and early 1930s, have entered the canon, have become cultural icons the world over. Yet in these very same classics, the brilliant and the dark sides of their genius appear not only close together but inextricable. If we think of The Golem, The Cabinet of Dr Caligari, Nosferatu and Dr Mabuse: these are titles which by themselves evoke the spirit of an age, conjuring up. | Sĩ 0 Acta Univ. Sapientiae Film and Media Studies 1 2009 107-116 Cinema as Art and Philosophy in Béla Tarr s Creative Exploration of Reality Elzbieta Buslowska University of Essex Great. Britain email ebuslowskaQyahoo . Abstract. Rather than in terms of fiction or reality Bela Tarr s cinema can be perceived as a creative exploration that is neither realistic nor non-rcalistic but the sum-total of our dealings with the world around. The absence of a storyline non-profcssional actors found locations and long shots uninterrupted by editing carefully thought through and choreographed at the same time arc the effect of this exploration. The director refuses to tell a story but. his aesthetics move beyond that of social realism. In this sense the sombre image of Hungary that defines the mood and style of the films can be thought of not. as realistic representation of the world nor as the metaphysical beyond but. as an event a situation locked in a wandering movement in which anything or nothing can happen both real and virtual Gilles Deleuze . Here the world the film the viewer and the outside arc intertwined in the process of becoming Deleuze . Drawing on Deleuze s proposition of timc thinking image the article explores the imagery of Bela Tarr s later films - Damnation Karhozat 1989 Satan s Tango Sátántangó 1994 and Werckmeister Harmonies Werckmeister harmóniák 2000 -in terms of the real rather than realistic and the creative rather than fictional . A herd of cattle drifts out of a barn and wanders off to a muddy open ground past the houses of an apparently deserted village before disappearing between the buildings. This is accompanied by a ghostly sound of wind and deep tolling bells. The almost ten minute long opening shot of Satan s Tango Sátántangó 1994 is the time-image a pure optical and sound situation where the narrative causality of action reaction gives way to the architecture of aesthetics and where the meaning of a story consents to the logic of poetic

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