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Beyond aesthetics: The long take as the nation-form in the cinema of Lav Diaz
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This article argues that the extreme long take of Lav Diaz is not only his aesthetic method but also his ideological position as a filmmaker of Third Cinema, reinstating the theory’s critical arsenal in opposing the violent structure of the postcolonial nation state. It maintains that the Diaz shot is isomorphic to the nation-form and has two political dimensions: first, the extreme duration of the shot is Diaz’s resistance to the imperialism of mainstream cinema and its debilitating effects by employing ‘dead time’ which creates restlessness and reflexivity that disrupt absorption to enable a mode of critical spectatorship; second, the Diaz shot is a critique on Philippine postcolonial society which can be understood by examining the triadic structure of space, time and body. Using the filmMula sa Kung Ano Ang Noon(From What Is Before) (2014), this article proposes an anatomy of the shot as a unitary system of environment, duration and progression of actions, labouring bodies of subalterns in the state of bare life. It expands the possibility of the long take from the narrowly held study of time and space to include a study of bodies.
Title: Beyond aesthetics: The long take as the nation-form in the cinema of Lav Diaz
Description:
This article argues that the extreme long take of Lav Diaz is not only his aesthetic method but also his ideological position as a filmmaker of Third Cinema, reinstating the theory’s critical arsenal in opposing the violent structure of the postcolonial nation state.
It maintains that the Diaz shot is isomorphic to the nation-form and has two political dimensions: first, the extreme duration of the shot is Diaz’s resistance to the imperialism of mainstream cinema and its debilitating effects by employing ‘dead time’ which creates restlessness and reflexivity that disrupt absorption to enable a mode of critical spectatorship; second, the Diaz shot is a critique on Philippine postcolonial society which can be understood by examining the triadic structure of space, time and body.
Using the filmMula sa Kung Ano Ang Noon(From What Is Before) (2014), this article proposes an anatomy of the shot as a unitary system of environment, duration and progression of actions, labouring bodies of subalterns in the state of bare life.
It expands the possibility of the long take from the narrowly held study of time and space to include a study of bodies.
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