Home Arts 3 Slow Cinema and the Escape from Capitalist Realism
Chapter
Licensed
Unlicensed Requires Authentication

3 Slow Cinema and the Escape from Capitalist Realism

View more publications by Rutgers University Press
To Publisher Page
Post-Communist Malaise
This chapter is in the book Post-Communist Malaise
873•SLOW CINEMA AND THE ESCAPE FROM CAPITALIST REALISMI. The Materiality of Cinematic Time from Andrei Tarkovsky to Béla TarrSlow Cinema and the Legacy of Andrei TarkovksyTwo developments in Eastern European and Balkan art cinema in the twenty-first century are significant for discourses of political modernism and representing the new geopolitics of Europe. The first is the emergence of the Romanian New Wave in the middle of the decade. With Cristi Puiu win-ning the Golden Bear at the Berlin Film Festival for his 2004 short, Cigarettes and Coffee, and the Un Certain Regard at Cannes for his 2005 feature, The Death of Mr.  Lazarescu, Romanian art cinema entered an era of international critical recognition and wide distribution. Many of these Romanian New Wave films embrace Puiu’s long-take style. For example, 4 Months, 3 Weeks and 2 Days(2007) became the first Romanian film to win the Palme d’Or at Cannes and the first to be nominated for a Golden Globe. Other works, such as Police, Adjective (2009), Tuesday after Christmas (2010), and Beyond the Hills (2012), also achieved global recognition. The second development is the ascendancy of Hungarian director Béla Tarr into the canon of global art cinema auteurs. Though he began his career in Hungary working within the conventions of socialist realism during the late seventies, Tarr’s films became increasingly styl-ized as he incorporated deliberate artifice—such as chiaroscuro lighting, shooting on black-and-white film stock, and formalist camera angles—into his
© 2020 Rutgers University Press, New Brunswick

873•SLOW CINEMA AND THE ESCAPE FROM CAPITALIST REALISMI. The Materiality of Cinematic Time from Andrei Tarkovsky to Béla TarrSlow Cinema and the Legacy of Andrei TarkovksyTwo developments in Eastern European and Balkan art cinema in the twenty-first century are significant for discourses of political modernism and representing the new geopolitics of Europe. The first is the emergence of the Romanian New Wave in the middle of the decade. With Cristi Puiu win-ning the Golden Bear at the Berlin Film Festival for his 2004 short, Cigarettes and Coffee, and the Un Certain Regard at Cannes for his 2005 feature, The Death of Mr.  Lazarescu, Romanian art cinema entered an era of international critical recognition and wide distribution. Many of these Romanian New Wave films embrace Puiu’s long-take style. For example, 4 Months, 3 Weeks and 2 Days(2007) became the first Romanian film to win the Palme d’Or at Cannes and the first to be nominated for a Golden Globe. Other works, such as Police, Adjective (2009), Tuesday after Christmas (2010), and Beyond the Hills (2012), also achieved global recognition. The second development is the ascendancy of Hungarian director Béla Tarr into the canon of global art cinema auteurs. Though he began his career in Hungary working within the conventions of socialist realism during the late seventies, Tarr’s films became increasingly styl-ized as he incorporated deliberate artifice—such as chiaroscuro lighting, shooting on black-and-white film stock, and formalist camera angles—into his
© 2020 Rutgers University Press, New Brunswick

Chapters in this book

  1. Frontmatter i
  2. CONTENTS vii
  3. Introduction 1
  4. 1 Eastern European New Waves and Political Modernism 18
  5. 2 What Happens after the End of History? 41
  6. 3 Slow Cinema and the Escape from Capitalist Realism 87
  7. 4 Theo Angelopoulos, Greece, and the Ends of Europe 132
  8. Conclusion 170
  9. Acknowledgments 179
  10. Notes 181
  11. Index 197
  12. ABOUT THE AUTHOR 209
Readers are also interested in:
https://doi.org/10.36019/9780813587172-004

Chapters in this book

  1. Frontmatter i
  2. CONTENTS vii
  3. Introduction 1
  4. 1 Eastern European New Waves and Political Modernism 18
  5. 2 What Happens after the End of History? 41
  6. 3 Slow Cinema and the Escape from Capitalist Realism 87
  7. 4 Theo Angelopoulos, Greece, and the Ends of Europe 132
  8. Conclusion 170
  9. Acknowledgments 179
  10. Notes 181
  11. Index 197
  12. ABOUT THE AUTHOR 209
Sign up now to receive a 20% welcome discount
Institutional Access
How does access work?
Have an idea on how to improve our website?
Please write us.
© 2025 De Gruyter Brill
Downloaded on 23.9.2025 from https://www.degruyterbrill.com/document/doi/10.36019/9780813587172-004/html?licenseType=restricted&srsltid=AfmBOorPWx9awkozfJ5mjh-3vGcOdO1QptnGw7GLwStL1P45dFethCzX
Scroll to top button