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The Cinema of Richard LinklaterWalk, Don't Run$
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Rob Stone

Print publication date: 2013

Print ISBN-13: 9780231165532

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231165532.001.0001

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The Form and Content of Slack

The Form and Content of Slack

Chapter:
(p.73) Chapter Three The Form and Content of Slack
Source:
The Cinema of Richard Linklater
Author(s):

Rob Stone

Publisher:
Columbia University Press
DOI:10.7312/columbia/9780231165532.003.0003

This chapter examines the form and content of Richard Linklater's films on slacking. A theoretical approach to the Modernist cinema of Linklater begins by looking at the frequent motif of the street. In Slacker (1991), SubUrbia (1996), Before Sunrise (1995), Waking Life (2001), Before Sunset (2004), and Fast Food Nation (2006), the street is a place and time of visual, auditory, sensual, romantic, spiritual, and philosophical encounters. The locating of these encounters in the urban areas of Austin, Vienna, Paris, New York, and SubUrbia's metaphorical Burnfield suggests modernity and its flow of life, as well as the fluid nature of the films themselves, for the movement of these films is the movement of the characters therein. This movement is always temporalized; it is defined by time. This temporalized movement negotiates the potential of cinematic subjectivity, and the sharing of empathy and emotional effect. Thus, the cinema of Linklater is one of time-frames, and the movement therein: life, fluidity, and open-endedness of thought and action.

Keywords:   slacking, Modernist cinema, Slacker, Waking Life, street, temporalized movement, cinematic subjectivity

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