The Tarr Style
The Tarr Style
This chapter discusses the Tarr style of filmmaking, particularly his use of extremely long takes. It characterizes four types of use of long takes, most of them combined with long camera movements, which were the most influential in the cinema of the 1960s and 1970s, as well as in Tarr's work: (i) the process of de-dramatization; (ii) the choreography of continuous change; (iii) the immersion and psychological participation; and (iv) the distanced observation and self-conscious authorial presence. Tarr's long-take style has something of each of these effects. He mainly uses long takes to connect events, but because there is very little narrative content in most of them, he uses long takes alternatively to create the sensation of immersion or, on the contrary, to alienate the viewer through mechanistic movements or static compositions or by making the camera independent of the character's movement. The chapter discusses the Tarr style as it appears in Damnation (1987).
Columbia Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us .