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The Long Take: Art Cinema and the Wondrous by Lutz Koepnick (review)

The Long Take: Art Cinema and the Wondrous by Lutz Koepnick (review) THE LONG TAKE: ART CINEMA AND THE WONDROUS Lutz Koepnick. Minneapolis: University of Minnesota Press, 2017, 288 pp. Although long takes seem to be a lost art in our ing Sleep. Rather, Warhol would insist the spec- contemporary digital world, some twenty-first- tator be mobile and perhaps even distracted, century filmmakers eschew fast-paced montage thus calling attention to one’s own practices of and visual effects. Lutz Koepnick’s The Long media viewership. Antonioni’s long takes are Take: Art Cinema and the Wondrous examines intended to be viewed without interruption, by contemporary long-take cinema, arguing that it a spectator seated patiently and observantly in constructs the potential to experience wonder. the theater. In the digital age, viewership can Wonder is a term that is Socratic by origin and be defined more by distraction and mobility points toward a desire to discover something, than by attentive stasis. not to be confused with shock or astonishment. The remaining chapters alternate between The wondrous is therefore distinct from Tom studies of feature-length films and studies of Gunning’s formulation of early cinema as a “cin- alternative forms of media. Chapter 2 examines ema of attraction.” Wonder is not immersive, like Hiroshi Sugimoto’s Union City Drive-In, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

The Long Take: Art Cinema and the Wondrous by Lutz Koepnick (review)

Journal of Film and Video , Volume 72 (1) – Apr 29, 2020

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

THE LONG TAKE: ART CINEMA AND THE WONDROUS Lutz Koepnick. Minneapolis: University of Minnesota Press, 2017, 288 pp. Although long takes seem to be a lost art in our ing Sleep. Rather, Warhol would insist the spec- contemporary digital world, some twenty-first- tator be mobile and perhaps even distracted, century filmmakers eschew fast-paced montage thus calling attention to one’s own practices of and visual effects. Lutz Koepnick’s The Long media viewership. Antonioni’s long takes are Take: Art Cinema and the Wondrous examines intended to be viewed without interruption, by contemporary long-take cinema, arguing that it a spectator seated patiently and observantly in constructs the potential to experience wonder. the theater. In the digital age, viewership can Wonder is a term that is Socratic by origin and be defined more by distraction and mobility points toward a desire to discover something, than by attentive stasis. not to be confused with shock or astonishment. The remaining chapters alternate between The wondrous is therefore distinct from Tom studies of feature-length films and studies of Gunning’s formulation of early cinema as a “cin- alternative forms of media. Chapter 2 examines ema of attraction.” Wonder is not immersive, like Hiroshi Sugimoto’s Union City Drive-In,

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 29, 2020

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