Abstract
The long take is often theorised in relation to the movement of characters in association with theatrical staging. Less examined is the way in which it can forge connections with immobile visual forms such as painting and photography. Looking at two films by Taiwan-based Tsai Ming-liang—Goodbye Dragon Inn (2003) and Stray Dogs (2013)—this chapter explores such connections through a consideration of cinematic slowness and stillness. Separated by a ten-year gap, both films provide a fascinating comparative analysis by showing how Tsai’s increasingly unorthodox use of the long take has struggled to survive within the aesthetic and institutional confines of cinema, thus migrating into the art gallery.
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de Luca, T. (2017). Watching Cinema Disappear: Intermediality and Aesthetic Experience in Tsai Ming-liang’s Goodbye Dragon Inn (2003) and Stray Dogs (2013). In: Gibbs, J., Pye, D. (eds) The Long Take. Palgrave Close Readings in Film and Television. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-58573-8_11
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DOI: https://doi.org/10.1057/978-1-137-58573-8_11
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