{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2025,4,26]],"date-time":"2025-04-26T04:02:03Z","timestamp":1745640123862,"version":"3.40.4"},"reference-count":0,"publisher":"El camarote de P\u00e8re Jules","license":[{"start":{"date-parts":[[2024,1,31]],"date-time":"2024-01-31T00:00:00Z","timestamp":1706659200000},"content-version":"unspecified","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["L'Atalante"],"abstract":"<jats:p>B\u00e9la Tarr\u2019s S\u00e1t\u00e1ntang\u00f3 (1994) has been been studied from an aesthetic, political and philosophical perspective, but not from what Tarr and Krasznahorkai consider to be the most important element of their work: the representation of the human condition and dignity. This paper explores how Tarr uses the sequence-shot to represent the dignity of his characters in S\u00e1t\u00e1ntang\u00f3. Is it possible to identify a specific stylistic pattern in his representation of the human condition? How does Tarr approach the staging of the long take to represent a point of view of humanity? What kind of relationships Tarr establishes between scenarios and characters through camera movement and composition? How do these conceptual relationships contribute to presenting a point of view of the human condition?<\/jats:p>","DOI":"10.63700\/1043","type":"journal-article","created":{"date-parts":[[2025,4,25]],"date-time":"2025-04-25T05:32:44Z","timestamp":1745559164000},"source":"Crossref","is-referenced-by-count":0,"title":["Humanism, landscape and the sequence-shot in B\u00e9la Tarr\u2019s S\u00e1t\u00e1ntang\u00f3"],"prefix":"10.63700","author":[{"given":"Carlos","family":"Ruiz Carmona","sequence":"first","affiliation":[]},{"given":"Catarina","family":"Aguiar","sequence":"additional","affiliation":[]}],"member":"53102","published-online":{"date-parts":[[2024,1,31]]},"container-title":["L'Atalante. Revista de estudios cinematogr\u00e1ficos"],"original-title":[],"link":[{"URL":"https:\/\/revistaatalante.com\/index.php\/atalante\/article\/download\/1043\/1572","content-type":"application\/pdf","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/revistaatalante.com\/index.php\/atalante\/article\/download\/1043\/1555","content-type":"application\/pdf","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/revistaatalante.com\/index.php\/atalante\/article\/download\/1043\/1555","content-type":"unspecified","content-version":"vor","intended-application":"similarity-checking"}],"deposited":{"date-parts":[[2025,4,25]],"date-time":"2025-04-25T05:33:08Z","timestamp":1745559188000},"score":1,"resource":{"primary":{"URL":"https:\/\/revistaatalante.com\/index.php\/atalante\/article\/view\/1043"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2024,1,31]]},"references-count":0,"URL":"https:\/\/doi.org\/10.63700\/1043","relation":{},"ISSN":["2340-6992","1885-3730"],"issn-type":[{"value":"2340-6992","type":"electronic"},{"value":"1885-3730","type":"print"}],"subject":[],"published":{"date-parts":[[2024,1,31]]}}}