The Long Take: Critical Approaches (Palgrave Close Readings in Film and Television)

This is the first book in English exclusively devoted to the long take, one of the key elements of film style. Increasingly visible in contemporary international media, the long take currently attracts a good deal of attention in criticism and commentary. There are also significant strands of film theory in which duration has become a recurrent concern. In keeping with the approach of __Palgrave Close Readings in Film and Television,__ this collection is devoted to the detailed critical analysis of specific long takes, explored in terms of how they function within their contexts, how they shape the visual field, the meanings they generate and the effects they create. __The Long Take: Critical Approaches__ brings together essays by established and emerging scholars (all but one essay commissioned for this volume) in an exciting collection that analyses works from a range of filmmaking traditions, from the 1930s to the present day, selected to represent varied long take practices and to explore associated debates. The Long Take Critical Approaches 4 Acknowledgements 7 Contents 8 Editors and Contributors 10 List of Figures 14 Introduction 1: The Long Take—Critical Approaches 17 Bazin 18 This Collection 21 Technology 24 The Borders of the Long Take 26 Between Sympathy and Detachment 31 Oppositional Practices 34 Works Cited 40 Introduction 2: The Long Take—Concepts, Practices, Technologies, and Histories 43 The Tableau Aesthetic 46 The 1920s and 1930s 47 The Late 1930s and the Early to Mid-1940s 48 The Late 1940s and 1950s 51 The 1970s and Beyond 53 Works Cited 55 Three Long Takes: Le Crime de M. Lange (Jean Renoir 1935) 58 Works Cited 73 The Average Long Take 74 Works Cited 85 Looking and Touching: The Long Take in Five Women Around Utamaro (Mizoguchi Kenji 1946) 87 Ars Longa, Vita Brevis? 95 Works Cited 101 Opening Movements in Ophuls: Long Takes, Leading Characters and Luxuries 102 Afterword 113 Works Cited 114 Like Motion Pictures: Long Take Staging in Vincente Minnelli’s Bells Are Ringing (1960) 116 Long Playing 116 Original Cast 120 High Fidelity 122 Extended 125 Works Cited 129 Roberto Rossellini Presents 130 Treating Mazarin 132 Absorbed in Theatre 135 The King and Colbert 137 Versailles 140 Works Cited 144 Last Chants for a Slow Dance (Jon Jost 1977) 146 Works Cited 159 To Be in the Moment: On (Almost) Not Noticing Time Passing in Before Sunrise (Richard Linklater 1995) 160 The Before Series and the Long Take 161 “Q&A Time” in Before Sunrise 163 Works Cited 174 Watching Cinema Disappear: Intermediality and Aesthetic Experience in Tsai Ming-liang’s Goodbye Dragon Inn (2003) and Stray Dogs (2013) 175 Goodbye Dragon Inn 177 Stray Dogs 181 Concluding Remarks 185 Works Cited 187 13 Ways of Looking at a Lake 189 Works Cited 202 The Artists’ Long Take as Passage in Sharon Lockhart’s Installation Lunch Break (2008) 204 Artists and Long Takes 208 Pasolini and the Long Take Beyond Fiction Film 209 Experiments with Duration: From Warhol and Snow to Slow Cinema 210 Radical Difference: Sharon Lockhart’s Installation Lunch Break 212 Works Cited 215 The Search for Meaning in Once Upon a Time in Anatolia (Nuri Bilge Ceylan 2011) 217 Works Cited 228 Working Space: Gravity (Alfonso Cuarón 2013) and the Digital Long Take 230 Labour and Artifice in a Digital World 231 Labouring Through Space 233 Vision and Touch 239 Works Cited 245 True Detective (2014), Looking (2014), and the Televisual Long Take 247 Works Cited 260 Index 261 This Is The First Book In English Exclusively Devoted To The Long Take, One Of The Key Elements Of Film Style. Increasingly Visible In Contemporary International Media, The Long Take Currently Attracts A Good Deal Of Attention In Criticism And Commentary. There Are Also Significant Strands Of Film Theory In Which Duration Has Become A Recurrent Concern. In Keeping With The Approach Of Palgrave Close Readings In Film And Television, This Collection Is Devoted To The Detailed Critical Analysis Of Specific Long Takes, Explored In Terms Of How They Function Within Their Contexts, How They Shape The Visual Field, The Meanings They Generate And The Effects They Create. 'the Long Take: Critical Approaches' Brings Together Essays By Established And Emerging Scholars (all But One Essay Commissioned For This Volume) In An Exciting Collection That Analyses Works From A Range Of Filmmaking Traditions, From The 1930s To The Present Day, Selected To Represent Varied Long Take Practices And To Explore Associated Debates. Machine Generated Contents Note: Three Long Takes: Le Crime De M. Lange (jean Renoir 1935) / Douglas Pye -- The Average Long Take / Christian Keathley -- Looking And Touching: The Long Take In Five Women Around Utamaro (mizoguchi Kenji 1946) / Alexander Jacoby -- Opening Movements In Ophuls: Long Takes, Leading Characters And Luxuries / John Gibbs -- Like Motion Pictures: Long Take Staging In Vincente Minnelli's Bells Are Ringing (1960) / Joe Mcelhaney -- Roberto Rossellini Presents / Adam O'brien -- Last Chants For A Slow Dance (jon Jost 1977) / Jim Hillier -- To Be In The Moment: On (almost) Not Noticing Time Passing In Before Sunrise (richard Linklater 1995) / James Macdowell -- Watching Cinema Disappear: Intermediality And Aesthetic Experience In Tsai Ming-liang's Goodbye Dragon Inn (2003) And Stray Dogs (2013) / Tiago De Luca -- 13 Ways Of Looking At A Lake / Alison Butler -- The Artists' Long Take As Passage In Sharon Lockhart's Installation Lunch Break (2008) / Catherine Fowler -- The Search For Meaning In Once Upon A Time In Anatolia (nuri Bilge Ceylan 2011) / James Rattee -- Working Space: Gravity (alfonso Cuaron 2013) And The Digital Long Take / Lisa Purse -- True Detective (2014), Looking (2014), And The Televisual Long Take / Sean O'sullivan. John Gibbs, Douglas Pye, Editors. Includes Bibliographical References And Index. Front Matter ....Pages i-xvii Introduction 1: The Long Take—Critical Approaches (John Gibbs, Douglas Pye)....Pages 1-26 Introduction 2: The Long Take—Concepts, Practices, Technologies, and Histories (Steve Neale)....Pages 27-41 Three Long Takes: Le Crime de M. Lange (Jean Renoir 1935) (Douglas Pye)....Pages 43-58 The Average Long Take (Christian Keathley)....Pages 59-71 Looking and Touching: The Long Take in Five Women Around Utamaro (Mizoguchi Kenji 1946) (Alexander Jacoby)....Pages 73-87 Opening Movements in Ophuls: Long Takes, Leading Characters and Luxuries (John Gibbs)....Pages 89-102 Like Motion Pictures: Long Take Staging in Vincente Minnelli’s Bells Are Ringing (1960) (Joe McElhaney)....Pages 103-116 Roberto Rossellini Presents (Adam O’Brien)....Pages 117-132 Last Chants for a Slow Dance (Jon Jost 1977) (Jim Hillier)....Pages 133-146 To Be in the Moment: On (Almost) Not Noticing Time Passing in Before Sunrise (Richard Linklater 1995) (James MacDowell)....Pages 147-161 Watching Cinema Disappear: Intermediality and Aesthetic Experience in Tsai Ming-liang’s Goodbye Dragon Inn (2003) and Stray Dogs (2013) (Tiago de Luca)....Pages 163-176 13 Ways of Looking at a Lake (Alison Butler)....Pages 177-191 The Artists’ Long Take as Passage in Sharon Lockhart’s Installation Lunch Break (2008) (Catherine Fowler)....Pages 193-205 The Search for Meaning in Once Upon a Time in Anatolia (Nuri Bilge Ceylan 2011) (James Rattee)....Pages 207-219 Working Space: Gravity (Alfonso Cuarón 2013) and the Digital Long Take (Lisa Purse)....Pages 221-237 True Detective (2014), Looking (2014), and the Televisual Long Take (Sean O’Sullivan)....Pages 239-252 Back Matter ....Pages 253-263