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The Aesthetics of Boredom

Slow Cinema and the Virtues of the Long Take in Once Upon a Time in Anatolia

Emre Çağlayan

doesn’t really matter. What counts is the movement: looking” (quoted in Rosenbaum 2000 ), or in other words, films focusing on the police procedural work only insofar as they evade rational explanations of events and instead emphasize the investigation

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Karen Pearlman

access unusual flexibility in linking thought and action, knowledge and motion, conceptual memory and procedural memory. (2007: 779) In other words, the fact that editors rarely articulate the cognitive complexity of their creative processes does not mean