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Authors
Advisor(s)
Abstract(s)
This short piece analyses Pedro Afonso’s video essay on Roy Andersson’s
Complex Image, an aesthetic style based on the tableau shot. It proceeds by
scrutinizing the relationship Andersson’s aesthetic maintains with painting,
slow cinema and political ideology, three aspects connected with realism,
one way or the other. By focusing on the operative word “complex”, instead
of “image”, this text claims that the Complex Image is not strictly pictorial;
that long shots do not necessarily equate with slow cinema; and that there is
a strong political engagement alongside an undeniably creative form.
Description
Keywords
The complex image Painting Long take Realism The living trilogy Roy Andersson Slow cinema Pedro Afonso
Citation
Publisher
Universidade Católica Portuguesa