Issue 38
Vanishing Points

Countershots of Contemporary Noir: Analysing The Limits of Control, Once Upon a Time in Anatolia and Night Moves

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  • Jesús Urbano Reyes
Jesús Urbano Reyes
Universidad Complutense de Madrid
Bio
DOI: https://doi.org/10.63700/1136

Published 2024-07-31

Keywords

  • Slow Cinema,
  • Film Noir,
  • Shot/ Countershot,
  • Film Space,
  • New Temporality,
  • Narrative Suspension
    • ...More
    Less

How to Cite

Urbano Reyes, J. (2024). Countershots of Contemporary Noir: Analysing The Limits of Control, Once Upon a Time in Anatolia and Night Moves . L’Atalante. Journal of Film Studies, (38), 127–140. https://doi.org/10.63700/1136

Copyright (c) 2024 L'Atalante. Journal of film studies

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This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.

Abstract

This paper studies the innovation of noir codes in three slow movies: The Limits of Control (Jarmusch, 2009), Bir zamanlar Anadolu’da (Nuri Ceylan, 2011) and Night Moves (Kelly Reichardt, 2013). To that end, the concept of slow cinema and its significance as an international film movement are contextualized and discussed. Subsequently, in order to explore different variations on the tropes of films noir a sequence from each film is analyzed. These variations are a result of a unique use of space, new temporality, and suspended narratives, in contrast to other contemporary films that aimed at renovations of both subjects and archetypes. This study argues that challenging normative narrative –that is, defending stillness over action and excess, uselessness over usefulness, subduing human time to the time of nature, and rejecting a pre-established identity– is also a way of making films politically.

 

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