13. ‘SLOW SOUNDS’: DURATION, AUDITION AND LABOUR IN LIU JIAYIN’S OXHIDE AND OXHIDE II

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ILLUSTRATIONS viii
4. CONTRIBUTORS xi
5. ACKNOWLEDGEMENTS xvi
6. TRADITIONS IN WORLD CINEMA xvii
7. FOREWORD xix
8. INTRODUCTION: FROM SLOW CINEMA TO SLOW CINEMAS 1
9. PART 1 HISTORICISING SLOW CINEMA
10. 1. THE POLITICS OF SLOWNESS AND THE TRAPS OF MODERNITY 25
11. 2. THE SLOW PULSE OF THE ERA: CARL TH. DREYER’S FILM STYLE 47
12. 3. THE FIRST DURATIONAL CINEMA AND THE REAL OF TIME 59
13. 4. ‘THE ATTITUDE OF SMOKING AND OBSERVING’: SLOW FILM AND POLITICS IN THE CINEMA OF JEAN-MARIE STRAUB AND DANIÈLE HUILLET 71
14. PART II CONTEXTUALISING SLOW CINEMA
15. 5. TEMPORAL AESTHETICS OF DRIFTING: TSAI MING-LIANG AND A CINEMA OF SLOWNESS 87
16. 6. STILLS AND STILLNESS IN APICHATPONG WEERASETHAKUL’S CINEMA 99
17. 7. MELANCHOLIA: THE LONG, SLOW CINEMA OF LAV DIAZ 112
18. 8. EXHAUSTED DRIFT: AUSTERITY, DISPOSSESSION AND THE POLITICS OF SLOW IN KELLY REICHARDT’S MEEK’S CUTOFF 123
19. 9. IF THESE WALLS COULD SPEAK: FROM SLOWNESS TO STILLNESS IN THE CINEMA OF JIA ZHANGKE 137
20. PART III SLOW CINEMA AND LABOUR
21. 10. WASTRELS OF TIME: SLOW CINEMA’S LABOURING BODY, THE POLITICAL SPECTATOR AND THE QUEER 153
22. 11. LIVING DAILY, WORKING SLOWLY: PEDRO COSTA’S IN VANDA’S ROOM 169
23. 12. WORKING/SLOW: CINEMATIC STYLE AS LABOUR IN WANG BING’S TIE XI QU: WEST OF THE TRACKS 180
24. 13. ‘SLOW SOUNDS’: DURATION, AUDITION AND LABOUR IN LIU JIAYIN’S OXHIDE AND OXHIDE II 192
25. PART IV SLOW CINEMA AND THE NON-HUMAN
26. 14. IT’S ABOUT TIME: SLOW AESTHETICS IN EXPERIMENTAL ECOCINEMA AND NATURE CAM VIDEOS 207
27. 15. NATURAL VIEWS: ANIMALS, CONTINGENCY AND DEATH IN CARLOS REYGADAS’S JAPÓN AND LISANDRO ALONSO’S LOS MUERTOS 219
28. 16. THE SLEEPING SPECTATOR: NON-HUMAN AESTHETICS IN ABBAS KIAROSTAMI’S FIVE: DEDICATED TO OZU 231
29. PART V THE ETHICS AND POLITICS OF SLOWNESS
30. 17. BÉLA TARR: THE POETICS AND THE POLITICS OF FICTION 245
31. 18. ETHICS OF THE LANDSCAPE SHOT: AKA SERIAL KILLER AND JAMES BENNING’S PORTRAITS OF CRIMINALS 261
32. 19. SLOW CINEMA AND THE ETHICS OF DURATION 273
33. PART VI BEYOND ‘SLOW CINEMA’
34. 20. PERFORMING EVOLUTION: IMMERSION, UNFOLDING AND LUCILE HADŽIHALILOVIC´ ’S INNOCENCE 287
35. 21. THE SLOW ROAD TO EUROPE: THE POLITICS AND AESTHETICS OF STALLED MOBILITY IN HERMAKONO AND MORGEN 299
36. 22. CRYSTALLISING THE PAST: SLOW HERITAGE CINEMA 312
37. INDEX 324