Matthew Flanagan’s thesis “Slow Cinema” explores a “stylistic current” present throughout a specific sub genre of experimental films dubbed “Slow Cinema”. It delves into the evolution of this genre throughout the last 3 decades and the genre’s thematic throughlines, namely long takes, undramatic narrative or non-narrative structure, realist or hyperrealist representation and a pronounced stillness of composition and visual content.
This thesis is incredibly relevant to my own endeavor into non-fiction, slow cinema, non-narrative filmmaking. I still haven’t fully decided on the medium of my piece (whether one ~10 minute short film, or perhaps breaking it up into smaller pieces) but the exploration into various themes I’m hoping to draw from is critical to my project. Specifically, non-narrative structure and its relationship with the audience. How do we hold attention when there is no narrative for the audience to follow? The article talks about how the filmmaker can “lose” their audience without a narrative at times in their film, so perhaps I could combat this by experimenting with some form of an interactive experience? This would enable me to not only maintain the audience’s attention, but allow for the audience to have some input into what they notice, and what aspects of the project they are drawn to, rather than being completely imposed upon by the completed film.
Another tool I will be utilising in my project referenced within this article is, as Flanagan describes it, “stillness of composition.” I am hoping this will further constrict the viewers attention and focus solely on the light sources and their movement within the space. So for this, a tripod is obviously crucial, but I also want to pick locations that will have none or very little unintended movement. Places like roads, rooms with people in them etc will be avoided.
Reference
Flanagan, M, 2012. ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film. Exeter: University of Exeter.