Date of Award
8-15-2017
Thesis Type
phd
Document Type
Thesis (Restricted Access)
Divisions
fac_med
Department
Faculty of Arts and Social Sciences
Institution
University of Malaya
Abstract
Béla Tarr is one of the most renowned filmmaker today who is famous for his long take aesthetics. All of his films display acute sense of societal alienation, bleak landscapes and temporal oppression. This dissertation analyzes Tarr’s later films [comprising from Damnation (1988), Sátántangó (1994), Werckmeister Harmonies (2000), The Man from London (2007) and A Turin Horse (2011)] according to Heideggerian phenomenology. Martin Heidegger (1889-1976), a German philosopher, is famed for his study of the ontology of Being (Sein) in Being and Time (Sein und Zeit, 1927/1962). His ideas on Dasein (Being-there), is considered as a groundbreaking contribution in hermeneutic phenomenology. This dissertation elaborate on Béla Tarr’s aesthetics from the analysis of Heidegger’s later works; interrogating the phenomenology of lingering shot, art and truth in film, the mode of nothingness, cinematic boredom, dwelling in cinema, metaphysics of nihilism and essence of Being. This dissertation argue that Béla Tarr’s long take discloses the essence of Being, which runs parallel to Heidegger’s quest in understanding the essence of Being in his philosophy, which asks for a thoughtful retrospection of the meaning of existence. The dissertation conclude that Béla Tarr’s long take films offer distinctive ways to thinking and contemplating Being.
Note
Thesis (PhD) – Faculty of Arts and Social Sciences, University of Malaya, 2017.
Recommended Citation
Fauzi Naeim, Mohamed, "A study of Béla Tarr’s film aesthetics based on Heidegger’s phenomenology / Fauzi Naeim Mohamed" (2017). Student Works (2010-2019). 4782.
https://knova.um.edu.my/student_works_2010s/4782