Anastasia S. Teterkina
This article analyzes international academic discourse on the phenomenon of “slow cinema”, drawing on the works of M. Flanagan, O.E. Çağlayan, K. Schoonover, S.H. Lim, T. de Luca, and L. Kepnik. The study aims to deconstruct existing interpretative constructs and identify the underlying assumptions underlying various approaches to understanding “slow cinema”. Particular attention is paid to shifting the research lens in the analyzed texts from formal and aesthetic characteristics to an analysis of viewer perception, including in the context of the “time economy”, the “materialization of corporeality”, and other sociocultural transformations. The study establishes that “slow cinema” should be viewed not as a set of stable features, but as a discursive construct applied to specific films, within which their duration is considered a mechanism for organizing the viewer's sensory-perceptual experience. As a result, an attempt is made to initially systematize the identified provisions contained in the texts being objectified, and a conclusion is made about the need for further theoretical clarification of the content of the concept of “slow cinema” with the aim of subsequently forming a more coherent model.