“过度”的影像:慢电影长镜头中的物质与身体

Cinematic‘Excess’:Matters and Bodies in Slow Cinema's Long Takes

在当下艺术电影的发展过程中,慢电影的创作已经形成了一股不可忽视的潮流,针对慢电影的讨论和研究也不断深入。慢电影最显著的特点之一就是大量运用时间极长的长镜头。这一特点体现了慢电影与二战之后现代主义电影之间的联系,同时又彰显了慢电影对往常长镜头运用的突破和革新。慢电影的长镜头超越了现代主义艺术电影还在依赖的叙事原则,凸显了自身在形式上“过度”的特点,指向了对银幕内物质和身体的关注。

In the dynamic evolution of contemporary art cinema,the rise of Slow Cinema stands as an indisputable and enthralling phenomenon,prompting ongoing and profound dialogues as well as scholarly explorations into the intricacies of this cinematic style.Slow Cinema,characterized by its deliberate and extensive use of significantly prolonged long takes,serves as a captivating link to the post-World War Ⅱ era of modernist art cinema.Beyond merely chronicling the passage of time,these protracted scenes underscore Slow Cinema’s bold breakthroughs and innovative reinterpretation of the long takes.The deliberate elongation of these long takes defies conventional storytelling necessities,revealing an aesthetic‘excess’that intricately shapes its forms,directing our gaze to the nuanced interplay of matters and bodies on-screen.This deliberate embrace of temporal excess,within the broader cinematic discourse,unveils a rich tapestry of sensory experiences and narrative possibilities.