I like your graph, even though I contest to the surrealism and documentary sections (and Benning appears twice).BenoitRouilly wrote: ↑Fri Jul 13, 2018 6:44 pmInspired by Schrader's chart, which is most interesting in many ways, I've designed a Durational Cinema Map of my own with a few changes and keeping the gist of it. Some auteurs I didn't know I've omitted, and I added others to map out the tendencies of "contemplative cinema" today and in the past. I kept the center of classical narration, and added 3 new directions (which are not endpoints/deadends but waypoint to the future of cinema). I also lost the "Tarkovsky Ring" which refers to the USA market. Most of the auteurs outside the ring are arthouse favourites (not art gallery guests). Thus I divided the map in concentric circles to show evolution of the non-narrative cinema from Neorealismo, to Modern Cinema, to Contemplative Cinema (since the 70ies onward). These aren't properly chronological eras, more like stylistic steps on an evolution course from Classicism to Contemplative Cinema.
It's tough to plot each auteur at the "right" place, sometimes they fit in more than one area, sometimes it's hard to pinpoint even one location, but I wanted to figure the most representative of "slower cinema". This vague placement delineates certain proximities/filiation/succession by creating peculiar families in one area of the map and others seem so far apart.
In the end, I trust more the radial genealogy (from Neorealismo to CCC) than the random connections between waypoints/quadrants. The full circle doesn't really work. Schrader was more prudent to avoid connecting the dots...
I wonder if Paul Schrader would like this map.
Image from Unspoken Cinema
I haven't seen a Tsai film yet, but having just read the introduction in the book, in the surveillance section he uses the example of Van Sant's death trilogy, which I guess makes more sense. Still no clue as to whether Tsai fits or not though.