The Damnation of the Sight. The Point of View in Three Movies by Béla Tarr

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Bibliographic Details
Authors and Corporations: Grosoli , Marco
In: Acta Universitatis Sapientiae, Film and Media Studies, 2011, 04, p. 101-113
published:
Scientia
Scientia Publishing House
Media Type: Article, E-Article

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further information
ISSN: 2065-5924
2066-7779
EISSN: 2066-7779
published in: Acta Universitatis Sapientiae, Film and Media Studies
Language: English
Subjects:
Theatre, Dance, Performing Arts
Collection: CEEOL Central and Eastern European Online Library
sid-53-col-ceeol
Table of Contents

The paper focuses on Satantango (Sátántangó, 1994), Werckmeister Harmonies (Werckmeister Harmóniák, 2000) and The Man From London (A londoni férfi, 2007), particularly on the manner in which the key notion at the core of Tarr’s universe finds a development within those films: the relation between the narrative and its (“entropic,” so to speak) excess. Notably, the Point Of View proves to be the ultimate device through which something like a spatial form structuring the aforementioned relation can be shaped.