Book Section
Title
A Slow Revolution?
Author(s)
Rosa Barotsi
Identifier
Is Part Of
Place
Berlin
Publisher
ICI Berlin Press
Date
July 8, 2025
Rights
© by the author(s)
This work is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License.
Language
en-GB
page start
9
page end
97
Source
Rosa Barotsi, Time and the Everyday in Slow Cinema, Cultural Inquiry, 34 (Berlin: ICI Berlin Press, 2025), pp. 9–97

References

  • Aitken, Ian, Realist Film Theory and Cinema: The Nineteenth-Century Lukácsian and Intuitionist Realist Traditions (Manchester: Manchester University Press, 2006) <https://doi.org/10.7228/manchester/9780719070006.001.0001>
  • Aitken, Ian, Cinematic Realism: Lukács, Kracauer and Theories of the Filmic Real (Edinburgh: Edinburgh University Press, 2022) <https://doi.org/10.3366/edinburgh/9781474441346.001.0001>
  • Aitken, Ian, ed., Major Realist Film Theorists: A Critical Anthology (Edinburgh: Edinburgh University Press, 2016) <https://doi.org/10.3366/edinburgh/9781474402217.001.0001>
  • Andrew, Dudley, The Major Film Theories: An Introduction (New York: Oxford University Press, 1976)
  • Andrew, Dudley, Film in the Aura of Art (Princeton, NJ: Princeton University Press, 1984)
  • Andrew, Dudley, ‘An Atlas of World Cinema’, in Remapping World Cinema: Identity, Culture and Politics in Film, ed. by Stephanie Dennison and Song Hwee Lim (London: Wallflower Press, 2006), pp. 25–26
  • Andrew, Dudley, What Cinema Is! (Chichester: Wiley-Blackwell, 2011)
  • Andrew, Dudley, and Hervé Joubert-Laurencin, eds, Opening Bazin: Postwar Film Theory and Its Afterlife (Oxford: Oxford University Press, 2011)
  • Andrews, Cecile, Slow Is Beautiful: New Visions of Community, Leisure and Joie de Vivre (Gabriola Island, BC: New Society Publishers, 2006)
  • Armes, Roy, Patterns of Realism: A Study of Italian Neo-Realist Cinema (South Brunswick, NJ: A. S. Barnes, 1971), pp. 168–69
  • Baptista, Tiago, ‘Nationally Correct: The Invention of Portuguese Cinema’, P: Portuguese Cultural Studies, 3 (2010), pp. 3–18 <https://doi.org/10.7275/R5VX0DFD>
  • Barotsi, Rosa, ‘Not Yet: Duration as Detour in Emmanuelle Demoris’s Mafrouza Cycle’, in Errans: Going Astray, Being Adrift, Coming to Nothing, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer (Berlin: ICI Berlin Press, 2022), pp. 75–92 <https://doi.org/10.37050/ci-24_3>
  • Barthes, Roland, ‘Osons être paresseux’, Le Monde Dimanche, 16 September 1979
  • Bazin, André, Bazin at Work: Major Essays & Reviews from the Forties and Fifties, trans. by Alain Piette and Bert Cardullo, ed. by Bert Cardullo (New York: Routledge, 1997) <https://doi.org/10.4324/9781315021003>
  • Bazin, André, What Is Cinema?, trans. by Hugh Gray (Berkeley: University of California Press, 2005)
  • Bazin, André, What Is Cinema?, trans. by Timothy Barnard (Montreal: Caboose, 2009)
  • Benjamin, Walter, ‘On Some Motifs in Baudelaire’, trans. by Harry Zohn, in Selected Writings, ed. by Michael W. Jennings and others, 4 vols (Cambridge, MA: Harvard University Press, 1996–2003), IV: 1938–1940 (2003), pp. 313–55
  • Benjamin, Walter, ‘On Some Motifs in Baudelaire’, in Benjamin, Illuminations, trans. by Harry Zorn (London: Random House, 2011), pp. 152–96
  • Berg, Maggie, and Barbara K. Seeber, The Slow Professor: Challenging the Culture of Speed in the Academy (Toronto: University of Toronto Press, 2016) <https://doi.org/10.3138/9781442663091>
  • Bergson, Henri, Creative Evolution, trans. by Arthur Mitchell (New York: Random House, 1944)
  • Betz, Mark, Beyond the Subtitle: Remapping European Art Cinema (Minneapolis: University of Minnesota Press, 2009)
  • Bingham, Adam, ‘Birdsong’, in Directory of World Cinema: Spain, ed. by Lorenzo J. Torres Hortelano (Bristol: Intellect, 2011), pp. 245–47
  • Bingham, Adam, ed., Directory of World Cinema: East Europe (Bristol: Intellect, 2011) <https://doi.org/10.2307/j.ctv36xvrqd>
  • Borvitz, Sieglinde, ‘Identità in transito. La rappresentazione del profondo sud nelle arti visive’, in Nation und Region: zur Aktualität intrakultureller Prozesse in der globalen Romania, ed. by Klaus Semsch (Münster: LIT Verlag, 2011), pp. 157–86
  • Bourdieu, Pierre, Distinction: A Social Critique of the Judgement of Taste, trans. by Richard Nice (Cambridge, MA: Harvard University Press, 1984)
  • Brunette, Peter, The Films of Michelangelo Antonioni (Cambridge: Cambridge University Press, 1998) <https://doi.org/10.1017/CBO9780511624346>
  • Burns, Bryan, World Cinema: Hungary (Madison, NJ: Fairleigh Dickinson University Press, 1996)
  • Buslowska, Elzbieta, ‘Cinema as Art and Philosophy in Béla Tarr’s Creative Exploration of Reality’, Acta Universitatis Sapentiae, Film and Media Studies, 1 (2009), pp. 107–16
  • Bíro, Yvette, Turbulence and Flow in Film: The Rhythmic Design (Bloomington: Indiana University Press, 2008)
  • Campus, Donatella, ‘Mediatization and Personalization of Politics in Italy and France: The Cases of Berlusconi and Sarkozy’, The International Journal of Press/Politics, 15.2 (2010), pp. 219–35 <https://doi.org/10.1177/1940161209358762>
  • Canales, Jimena, A Tenth of a Second: A History (Chicago: University of Chicago Press, 2011)
  • Casetti, Francesco, Theories of Cinema, 1945–1995 (Austin: University of Texas Press, 1999)
  • Colebrook, Claire, Understanding Deleuze (Crows Nest, NSW: Allen & Unwin, 2002)
  • Corless, Kieron, ‘Albert Serra: “I Am the Best One”’, London Film Festival 2011: The S&S blog, 27 October 2011 <http://old.bfi.org.uk/sightandsound/newsandviews/festivals/blog/lff-2011-10-27-albert-serra.php> [accessed 25 July 2024]
  • Costa, Pedro, ‘A Closed Door That Leaves Us Guessing’, Rouge, 10 (2007) <http://www.rouge.com.au/10/costa_seminar.html> [accessed 25 July 2024]
  • Cutting, James E., Jordan E. DeLong, and Christine E. Nothelfer, ‘Attention and the Evolution of Hollywood Film’, Psychological Science, 21.3 (2010), pp. 432–39 <https://doi.org/10.1177/0956797610361679>
  • Davies, Jon, ‘Le quattro volte / Michelangelo Frammartino + Nostalgia for the Light / Patricio Guzmán’, Cinema Scope, 45 (2011), pp. 56–58
  • De Luca, Tiago, ‘Realism of the Senses: A Tendency in Contemporary World Cinema’ (unpublished doctoral thesis, University of Leeds, 2011)
  • De Luca, Tiago, ‘Realism of the Senses: A Tendency in Contemporary World Cinema’, in Theorizing World Cinema, ed. by Lúcia Nagib, Christopher Perriam, and Rajinder Kumar Dudrah (London: I.B. Tauris, 2012), pp. 183–205 <https://doi.org/10.5040/9780755698141.ch-011>
  • De Marco, Camillo, ‘Le quattro volte’, Cineuropa, 19 May 2010 <http://cineuropa.org/ff.aspx?t=ffocusinterview&l=en&tid=2120&did=145628> [accessed 25 July 2024]
  • De Marco, Camillo, ‘Michelangelo Frammartino, Regista: “Un film politico sul legame tra uomo e natura”’, Cineuropa (2010) <https://cineuropa.org/it/interview/145628/> [accessed 25 July 2024]
  • Deleuze, Gilles, Cinema 2: The Time-Image [1985], trans. by Hugh Tomlinson and Robert Galeta (London: Continuum, 2005)
  • Deleuze, Gilles, and Félix Guattari, Kafka: Toward a Minor Literature [1975], trans. by Dana Polan (Minneapolis: University of Minnesota Press, 1986)
  • Dickinson, Janet, and Les Lumsdon, Slow Travel and Tourism (Oxford: Earthscan, 2012)
  • Due, Reidar Andreas, Deleuze (Cambridge: Polity Press, 2006)
  • Elsaesser, Thomas, European Cinema: Face to Face with Hollywood (Amsterdam: Amsterdam University Press, 2005) <https://doi.org/10.5117/9789053565940>
  • Elsaesser, Thomas, ‘Stop/Motion’, in Between Stillness and Movement: Film, Photography, Algorithms, ed. by Eivind Røssaak (Amsterdam: Amsterdam University Press, 2011), pp. 109–22
  • Flanagan, Matthew, ‘Towards an Aesthetic of Slow in Contemporary Cinema’, 16:9, 6.29 (2008) <http://www.16-9.dk/2008-11/side11_inenglish.htm> [accessed 10 October 2024]
  • Frampton, Daniel, Filmosophy (London: Wallflower Press, 2006)
  • Frigerio, Enrico, ed., Frigerio Design Group: Slow Architecture for Living (Milan: Skira, 2005)
  • Galt, Rosalind, The New European Cinema: Redrawing the Map (New York: Columbia University Press, 2006) <http://www.jstor.org/stable/10.7312/galt13716> [accessed 31 October 2024]
  • Galt, Rosalind, ‘The Prettiness of Italian Cinema’, in Popular Italian Cinema, ed. by Louis Bayman and Sergio Rigoletto (Basingstoke: Palgrave Macmillan, 2013), pp. 52–68 <https://doi.org/10.1057/9781137305657_3>
  • Galt, Rosalind, and Karl Schoonover, eds, Global Art Cinema: New Theories and Histories (New York: Oxford University Press, 2010)
  • Gaytán, Marie Sarita, ‘Globalizing Resistance: Slow Food and New Local Imaginaries’, Food, Culture and Society, 7.2 (2004), pp. 97–116 <https://doi.org/10.2752/155280104786577842>
  • Gilli, Nicolas, ‘Le quattro volte (2010)’, Filmosphere, 24 December 2010 <<https://web.archive.org/web/20111011122848/http://www.filmosphere.com/movie-review/critique-le-quattro-volte-2010/>> [accessed 25 July 2024]
  • Glissant, Édouard, Poetics of Relation, trans. by Betsy Wing (Ann Arbor: University of Michigan Press, 1997) <https://doi.org/10.3998/mpub.10257>
  • Grugeau, Gérard, ‘Entretien avec Béla Tarr’, 24 images, 111 (2002), pp. 42–44 <https://id.erudit.org/iderudit/24635ac>
  • Gunning, Tom, ‘What’s the Point of an Index? Or, Faking Photographs’, in Still Moving: Between Cinema and Photography, ed. by Karen Beckman and Jean Ma (Durham, NC: Duke University Press, 2008) <https://doi.org/10.1215/9780822391432>
  • Hames, Peter, ‘The Melancholy of Resistance: The Films of Béla Tarr’, Kinoeye, 1.1 (2001) <http://www.kinoeye.org/01/01/hames01.php> [accessed 25 July 2024]
  • Hames, Peter, The Cinema of Central Europe (London: Wallflower Press, 2004)
  • Henderson, Brian, ‘Toward a Non-Bourgeois Camera Style’, Film Quarterly, 24.2 (1970), pp. 2–14 <https://doi.org/10.2307/1211215>
  • Highmore, Ben, Everyday Life and Cultural Theory: An Introduction (London: Routledge, 2002) <https://doi.org/10.4324/9780203464229>
  • Hill, John, and Pamela Church Gibson, World Cinema: Critical Approaches (Oxford: Oxford University Press, 2000)
  • Honoré, Carl, In Praise of Slowness: Challenging the Cult of Speed (New York: Harper Collins ebooks, 2009)
  • Hortelano, Lorenzo J. Torres, ed., Directory of World Cinema: Spain (Bristol: Intellect, 2011), pp. 245–47
  • Hughes, Darren, ‘Albert Serra Interviewed on El cant dels ocells ( Birdsong)’, Senses of Cinema, 50 (2009) <http://sensesofcinema.com/2009/50/albert-serra-interview/> [accessed 28 July 2024]
  • James, Nick, ‘Passive Aggressive’, Sight & Sound, 20.4 (2010)
  • Jameson, Fredric, Signatures of the Visible (London: Routledge, 1992) <https://doi.org/10.4324/9780203821862>.
  • Jenkins, David, ‘Some Violence Is Required: A Conversation with Pedro Costa on Notebook’, MUBI Notebook, 11 March 2013 <http://mubi.com/notebook/posts/some-violence-is-required-a-conversation-with-pedro-costa> [accessed 28 July 2024]
  • Johnstone, Stephen, The Everyday (London: Whitechapel Gallery; Cambridge, MA: MIT Press, 2008)
  • Kline, T. Jefferson, ‘The Film Theories of Bazin and Epstein: Shadow Boxing in the Margins of the Real’, in Revisiting André Bazin, special issue of Paragraph, 36.1 (March 2013), pp. 68–85 <https://doi.org/10.3366/para.2013.0078>
  • Koehler, Robert, ‘El cant dels ocells (Albert Serra, Spain/France)’, Cinema Scope, 35 (2008) <http://cinema-scope.com/spotlight/spotlight-el-cant-dels-ocells-albert-serra-spainfrance/> [accessed 25 July 2024]
  • Kois, Dan, ‘Eating Your Cultural Vegetables’, The New York Times, 29 April 2011 <http://www.nytimes.com/2011/05/01/magazine/mag-01Riff-t.html> [accessed 28 July 2024]
  • Kracauer, Siegfried, Theory of Film: The Redemption of Physical Reality [1960] (Princeton, NJ: Princeton University Press, 1997)
  • Lim, Song Hwee, ‘Slowness, Nostalgia, Cinephilia: Tsai Ming-liang and the Discursive Death of Cinema’, conference paper delivered at The Moving Image: Reconfiguring Spaces of Loss and Mourning in the 21st Century, University of Cambridge, 27 February 2010
  • Lorber, Kino, Le quattro volte: A Film by Michelangelo Frammartino (press kit, 2010) <https://kinolorberbucket.s3.amazonaws.com/production/documents/lqv_pressbook.pdf> [accessed 28 November 2024]
  • Love, Heather, Norms, Deviance, and the Queer Ordinary?, lecture, ICI Berlin, 22 June 2015, video recording, mp4, 47:09 <http://doi.org/10.25620/e150622>
  • MacCabe, Colin, ‘Bazin as Modernist’, in Opening Bazin, ed. by Dudley Andrew and Hervé Joubert-Laurencin (Oxford: Oxford University Press, 2011), pp. 66–76
  • MacDonald, Scott, A Critical Cinema 4: Interviews with Independent Filmmakers (Berkeley: University of California Press, 2005) <https://doi.org/10.1525/9780520938212>
  • MacDougall, David, Transcultural Cinema (Princeton, NJ: Princeton University Press, 1998)
  • Macheret, Mathieu, ‘La chèvre et le chou. Le quattro volte de Michelangelo Frammartino’, Trafic, 77 (2011)
  • Maimon, Vered, ‘Beyond Representation’, Third Text, 26.3 (2012), pp. 331–44 <https://doi.org/10.1080/09528822.2012.679041>
  • Mancino, Antongiulio, ‘Le due volte di Michelangelo’, CineCriticaWeb (2013) <https://cinecriticaweb.it/panoramiche/le-due-volte-di-michelangelo/> [accessed 25 July 2024]
  • Margulies, Ivone, Nothing Happens: Chantal Akerman’s Hyperrealist Everyday (Durham, NC: Duke University Press, 1996) <https://doi.org/10.1215/9780822399254>
  • Margulies, Ivone, ‘Exemplary Bodies: Reenactment in Love in the City, Sons, and Close Up’, in Rites of Realism: Essays on Corporeal Cinema, ed. by Ivone Margulies (Durham, NC: Duke University Press, 2003), pp. 217–44 <https://doi.org/10.1215/9780822384618>
  • Mary Ann Doane, The Emergence of Cinematic Time: Modernity, Contingency, the Archive (Cambridge, MA: Harvard University Press, 2002) <https://doi.org/10.4159/9780674263024>
  • Mereghetti, Paolo, ‘Le quattro volte: I segreti del ciclo della Natura svelati da un mondo arcaico’, Corriere della Sera, 27 May 2010
  • Michelson, Annette, ‘What Is Cinema?’, Performing Arts Journal, 17.2–3 (1995), pp. 20–29 <https://doi.org/10.2307/3245771>, first published in Artforum, 6.10 (Summer 1968), pp. 67–71
  • Momcilovic, Jérôme, ‘Le quattro volte’, Études: Revue de culture contemporaine, 414.1 (2011) <https://www.revue-etudes.com/critiques-de-films/le-quattro-volte/13449> [accessed 28 July 2024]
  • Morgan, Daniel, ‘Bazin’s Modernism’, Paragraph, 36.1 (March 2013), pp. 10–30 <https://doi.org/10.3366/para.2013.0075>
  • März, Moses, ‘“Embracing Opacity”: Interview with Ntone Edjabe (Chimurenga Magazine)’, AfricAvenir International, interview conducted on 14 July 2011 <https://www.africavenir.org/en/embracing-opacity-interview-with-ntone-edjabe-chimurenga-magazine/> [accessed 28 July 2024]
  • Nagib, Lúcia, ‘Towards a Positive Definition of World Cinema’, in Remapping World Cinema, ed. by Dennison and Lim (London: Wallflower Press, 2006)
  • Nagib, Lúcia, World Cinema and the Ethics of Realism (New York: Continuum, 2011) <https://doi.org/10.5040/9781628929188>
  • Nagib, Lúcia, Realist Cinema as World Cinema: Non-Cinema, Intermedial Passages, Total Cinema (Amsterdam: Amsterdam University Press, 2020) <https://doi.org/10.5117/9789462987517>
  • Nagib, Lúcia, and Cecília Mello, eds, Realism and the Audiovisual Media (Basingstoke: Palgrave Macmillan, 2009) <https://doi.org/10.1057/9780230246973>
  • Neale, Steve, ‘Art Cinema as Institution’, Screen, 22.1 (1981), pp. 11–40 <https://doi.org/10.1093/screen/22.1.11>
  • Parkins, Wendy, and Geoffrey Craig, Slow Living (Oxford: Berg, 2006) <https://doi.org/10.5040/9781350044890>
  • Parr, Adrian, ed., The Deleuze Dictionary (Edinburgh: Edinburgh University Press, 2005)
  • Pasolini, Pier Paolo, Empirismo eretico, ed. by Guido Fink (Milan: Garzanti, 2000)
  • Paszkiewicz, Katarzyna, Genre, Authorship and Contemporary Women Filmmakers (Edinburgh: Edinburgh University Press, 2018) <https://doi.org/10.3366/edinburgh/9781474425261.001.0001>
  • Peranson, Mark, ‘Editor’s Note’, Cinema Scope, 51 (2012) <http://cinema-scope.com/columns/cs51-editors-note/> [accessed 25 July 2024]
  • Petrini, Carlo, Slow Food: The Case for Taste, trans. by William McCuaig (New York: Columbia University Press, 2003) <https://doi.org/10.7312/petr12844>
  • Petrini, Carlo, ed., Slow Food: Collected Thoughts on Taste, Tradition, and the Honest Pleasures of Food (White River Junction, VT: Chelsea Green Publishing Company, 2001)
  • Pink, Sarah, ‘Sensing Cittàslow: Slow Living and the Constitution of the Sensory City’, The Senses and Society, 2.1 (2007), pp. 59–77 <https://doi.org/10.2752/174589207779997027>
  • Powell, Helen, Stop the Clocks! Time and Narrative in Cinema (London: I.B. Tauris, 2012) <https://doi.org/10.5040/9780755693863>
  • Pulsoni, Gianluca, ‘To Believe in This World: An Interview with Michelangelo Frammartino’, Experimental Conversations, 8 (2011) <http://www.experimentalconversations.com/article/to-believe-in-this-world-an-interview-with-michelangelo-frammartino/> [accessed 25 July 2024]
  • Rancière, Jacques, Béla Tarr, le temps d’après (Paris: Capricci, 2011)
  • Reitere, Elīna, ‘Narration in Slow Cinema’ (unpublished doctoral thesis, Johannes Gutenberg University Mainz, 2018)
  • Ribas, Daniel, ‘Escaping the Future: O Sangue’, Senses of Cinema, 49 (2009) <http://sensesofcinema.com/2009/cteq/o-sangue/> [accessed 25 July 2024]
  • Rivers, Ben, ‘Five (not) by Ben Rivers’, London Film Festival 2011: The S&S blog, 26 October 2011 <http://old.bfi.org.uk/sightandsound/newsandviews/festivals/blog/lff-2011-10-26-ben-rivers.php> [accessed 25 July 2024]
  • Roberts, John, Philosophizing the Everyday: Revolutionary Praxis and the Fate of Cultural Theory (London: Pluto Press, 2006)
  • Romney, Jonathan, ‘In Search of Lost Time’, Sight & Sound, 20.2 (2010), pp. 43–44
  • Salt, Barry, Moving into Pictures: More on Film History, Style, and Analysis (London: Starword, 2006), pp. 389–96
  • Sassatelli, Roberta, and Federica Davolio, ‘Consumption, Pleasure and Politics: Slow Food and the Politico-Aesthetic Problematization of Food’, Journal of Consumer Culture, 10.2 (2010), pp. 202–32 <https://doi.org/10.1177/1469540510364591>
  • Schlosser, Eric, ‘Interview with Béla Tarr’, Bright Lights Film Journal, 30 (2000) <http://brightlightsfilm.com/30/belatarr1.php> [accessed 25 July 2024]
  • Schoonover, Karl, ‘Wastrels of Time: Slow Cinema’s Laboring Body, the Political Spectator, and the Queer’, Framework, 53.1 (2012), pp. 65–78 <https://doi.org/10.1353/frm.2012.0007>
  • Sedona, Giorgio, ‘Il dono’, Pointblank (2014) <https://www.pointblank.it/recensione-film/il-dono> [accessed 28 November 2024]
  • Shaviro, Steven, ‘Slow Cinema vs Fast Films’, The Pinocchio Theory, 12 May 2010 <http://www.shaviro.com/Blog/?p=891> [accessed 28 July 2024]
  • Sheringham, Michael, Everyday Life: Theories and Practices from Surrealism to the Present (Oxford: Oxford University Press, 2009) <https://doi.org/10.1093/oso/9780199273959.001.0001>
  • Shohat, Ella, and Robert Stam, Multiculturalism, Postcoloniality, and Transnational Media (New Brunswick, NJ: Rutgers University Press, 2003)
  • Singer, Ben, ‘Jeanne Dielman: Cinematic Interrogation and “Amplification”’, Millennium Film Journal, 22 (1989–90), pp. 56–75
  • Sontag, Susan, ‘The Decay of Cinema’, The New York Times, 25 February 1996 <http://www.nytimes.com/books/00/03/12/specials/sontag-cinema.html> [accessed 25 July 2024]
  • Steimatsky, Noa, Italian Locations: Reinhabiting the Past in Postwar Cinema (Minneapolis: University of Minnesota Press, 2008)
  • Tarkovsky, Andrei, Sculpting in Time: Reflections on the Cinema (Austin: University of Texas Press, 1987)
  • Thompson, Kristin, Eisenstein’s Ivan the Terrible: A Neoformalist Analysis (Princeton, NJ: Princeton University Press, 1981
  • Thompson, Kristin, Breaking the Glass Armor: Neoformalist Film Analysis (Princeton, NJ: Princeton University Press, 1988) <https://muse.jhu.edu/book/74119> [accessed 31 October 2024]
  • Wahlberg, Malin, Documentary Time: Film and Phenomenology (Minneapolis: University of Minnesota Press, 2008)
  • Zhang, Yingjin, ‘Cinema as Transnational Exchange: Chinese Cinema and Transnational Film Studies’, in World Cinemas, Transnational Perspectives, ed. by Natasa Ďurovičová and Kathleen E. Newman, AFI Film Readers (New York: Routledge, 2010) <https://doi.org/10.4324/9780203882795>
  • de Valck, Marijke, Film Festivals: From European Geopolitics to Global Cinephilia (Amsterdam: Amsterdam University Press, 2007) <http://www.jstor.org/stable/j.ctt46mv45> [accessed 31 October 2024]
  • Costa, Pedro, dir., O Sangue (The Blood) (1989)
  • Costa, Pedro, dir., Casa de Lava ( Down to Earth) (1994)
  • Costa, Pedro, dir., Ossos (Bones) (1997)
  • Costa, Pedro, dir., No quarto da Vanda ( In Vanda’s Room) (2000)
  • Costa, Pedro, dir., Juventude em Marcha ( Colossal Youth) (2006)
  • Costa, Pedro, dir., Cavalo Dinheiro ( Horse Money) (2014)
  • Costa, Pedro, dir., Vitalina Varela (2019)
  • Demoris, Emmanuelle, dir., Mafrouza — 1. Oh la nuit! (Mafrouza — 1. Oh at Night) (2007)
  • Demoris, Emmanuelle, dir., Mafrouza — 2. Coeur (Mafrouza — 2. Heart) (2010)
  • Demoris, Emmanuelle, dir., Mafrouza — 3. Que faire? (Mafrouza — 3. What is to Be Done?) (2010)
  • Demoris, Emmanuelle, dir., Mafrouza — 4. La main du papillon (Mafrouza — 4. The Butterfly Hand) (2010)
  • Demoris, Emmanuelle, dir., Mafrouza — 5. Paraboles (Mafrouza — 5. The Art of Speaking) (2010)
  • Demoris, Emmanuelle, dir., Voyage au lac — 1re partie. À demain ( Journey to the Lake Part 1 — Till Tomorrow) (2023)
  • Demoris, Emmanuelle, dir., Voyage au lac — 2e partie. Clameurs ( Journey to the Lake Part 2 — So Far) (2023)
  • Demoris, Emmanuelle, dir., Voyage au lac — 3e partie. Vers l’île ( Journey to the Lake Part 3 — To the Island) (2023)
  • Frammartino, Michelangelo, dir., Il dono ( The Gift) (2003)
  • Frammartino, Michelangelo, dir., Le quattro volte ( The Four Times) (2010)
  • Frammartino, Michelangelo, dir., Il buco ( The Hole) (2021)
  • Serra, Albert, dir., Crespià, the Film Not the Village (2003)
  • Serra, Albert, dir., El cant dels ocells ( Birdsong) (2008)
  • Serra, Albert, dir., Els noms de Crist (The Names of Christ) (2010)
  • Serra, Albert, dir., El senyor ha fet en mi meravelles ( The Lord Worked Wonders in Me) (2011)
  • Serra, Albert, dir., The Three Little Pigs (2012)
  • Tarr, Béla, dir., Családi tűzfészek ( Family Nest) (1977)
  • Tarr, Béla, dir., Macbeth (1980)
  • Tarr, Béla, dir., Öszi almanach ( Autumn Almanac) (1985)
  • Tarr, Béla, dir., Kárhozat ( Damnation) (1987)
  • Tarr, Béla, and Ágnes Hranitzky, dirs, A torinói ló ( A Turin Horse) (2011)
  • Akerman, Chantal, dir., Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (1975)
  • Antonioni, Michelangelo, dir., L’avventura ( The Adventure) (1960)
  • Apichatpong Weerasethakul, dir., Syndromes and a Century (2006)
  • Cuarón, Alfonso, dir., Children of Men (2006)
  • Godard, Jean-Luc, dir., Weekend (1967)
  • Rivette, Jacques, dir., Paris nous appartient ( Paris Belongs to Us) (1961)
  • Straub, Jean-Marie, and Danièlle Huillet, dirs, Dalla nube alla resistenza ( From the Clouds to the Resistance) (1979)
  • Straub, Jean-Marie, and Danièlle Huillet, dirs, Sicilia! ( Sicily!) (1998)
  • Tarkovsky, Andrei, dir., The Sacrifice (1986)
  • Truffaut, François, dir., Jules et Jim ( Jules and Jim) (1962)
  • Warhol, Andy, dir., Eat (1963)
  • Warhol, Andy, dir., Sleep (1963)

Cite as: Rosa Barotsi, ‘A Slow Revolution?’, in Rosa Barotsi, Time and the Everyday in Slow Cinema, Cultural Inquiry, 34 (Berlin: ICI Berlin Press, 2025), pp. 9-97 <https://doi.org/10.37050/ci-34_01>