Chinita, Fátima2019-10-292019-10-292017978-3-941310-93-3http://hdl.handle.net/10400.21/10689ABSTRACT - Roy Andersson’s cinematic Living Trilogy (2000, 2007, and 2014) is composed of structurally fractured films, but they are far from being the vignettes they are usually considered to be. All three films make use of the tableau aesthetic – derived from painting and theatre – in order to convey humanist ideas and reinforce joint paradoxes of time and space in a narrative format. Firstly, the films hint at temporal and spatial relationships between the tableaux (or scenes), which impart both consecutiveness and simultaneity, thus calling forth the medium proper. Secondly, the films manipulate time, either extending it or contracting it in the narrative flow and further adding anachronisms (including the related process of metalepsis), thus enabling both a perpetual present and a non-existent one. The use of the tableau aesthetic, in its similarity to some aspects of the tableau vivant, which is a poised inner stasis, also reinforces some philosophical questions common to all humanity and posits a meta-artistic stance.engTableau aestheticSpace-time continuumStasisDurationRoy Anderssonbook part