Abstract
This paper examines the effects of sleepness built inside three recent films: Honor of the Knigths (Albert Serra), Uncle Boonmee (Apichatpong Weerasethakul) and Five (Abbas Kiarostami). Our hypothesis points to the way sleep, which is assumed as a possible reaction to the film’s slowness, takes the form of a byproduct of a new relationship between spectator and screen, which, in turn, performs new twists on subjective problem recognized by Deleuze in The Time-Image: the rupture of the connection between man/woman and the world.
Keywords
contemporary cinema; spectatorship; slow cinema; time-image