Béla tarr y el cine que no cesa : una estética visual desde lo temporal.

Abstract

We examine the contributions of the Hungarian filmmaker Béla Tarr to contemporary visual aesthetics. To do this, with textual analysis, we unraveled his filmography, from which emerges a primacy of the visual device in the construction of his creative discourse. We postulate that with the only resource of his camera is able to generate a plurality of temporalities whose conflict emerges the drama. Thus, with its long sequence shots it destroys the scenic limits, exposing us to the duration of which the characters and actions are made. We find a rhythmic organization of the image, marked by a peculiar luminous imposition, from which emerges its tactile condition, which predisposes the viewer to operate on images in a distracted and, at the same time, analytical way. If the essence of his cinema is to restore temporality to its transitory nature, we conclude with a reflection on the ethics of trifling, from which we can feel our humanity from the ephemeral outline of the moment. From there, a new mode of knowledge emerges based on the confrontation with our myths that prevent us from glimpsing the smallness of our condition.

Keywords:

Bergson

flâneur

formalismo

imagen-tiempo

mito

Bergson

flâneur

formalism

myth

time-image

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