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‘Montage of speed’: Earlier Takes ‘Montage of speed’: Earlier Takes
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‘Pure film, pure time’: From Suspense to Suspension ‘Pure film, pure time’: From Suspense to Suspension
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‘Pure film, pure time’: Point Omega ‘Pure film, pure time’: Point Omega
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Works Cited Works Cited
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17 DeLillo and the Cinematic Long Take
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Published:September 2023
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Abstract
Don DeLillo’s engagement with cinema is established in his first novel Americana (1971), which features a baggy avant-garde documentary that unfolds in part as a series of long takes – a number of which feature interview subjects – recalling the experimental filmmaking of Andy Warhol and Jean-Luc Godard (the latter of whom DeLillo has repeatedly cited as an influence on his writing). This use of the camera in DeLillo’s earlier works is, I argue, in dialogue with Susan Sontag’s concept of photography as ‘soft murder’, a preoccupation that reaches its apex with the Kennedy assassination in Libra (1988), for which DeLillo researched the Zapruder footage of the President’s death. DeLillo’s later fiction, most notably Point Omega (2010), rethinks this camera-as-gun motif in favour of a more complex approach to the long take, one indebted to the work of filmmakers such as Bela Tarr, Michelangelo Antonioni, Chantal Akerman and Douglas Gordon. This chapter argues that this later approach is more concerned with the absence of action and the concept of the slow or long take as a political act intended, in the words of Tiago de Luca and Nuno Barradas Jorge, to ‘rescue extended temporal structures from the accelerated tempo of late capitalism’.
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