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Extra info for Anatomy of an Adult Film
Strong, colourful lighting effects; artificial-looking set designs; an expressionist acting style; eclectic mixtures of various visual styles; and direct citations of works of fine art, theatre and opera characterised a series of art films of this period. indb 39 39 11/03/2013 15:41 Werner Fassbinder’s Querelle (1982), Peter Greenaway’s The Draughtsman’s Contract (1982) and other of his 1980s films, Francis Ford Coppola’s One From the Heart (1982) and Derek Jarman’s Caravaggio (1986). In Hungary the most prominent representative of this trend was Gábor Bódy, with his monumental Narcissus and Psyche (1980) and Dog’s Night Song (1983), in which Béla Tarr made a brief appearance.
He tried out long takes, an artificial set, special lighting effects, and a stylised literary text; he mixed professional and amateur actors; and above all, he chose a story in which power games, conspiracy and moral corruption were in focus rather than poverty and housing problems. In his next film Tarr applied many of the lessons he had learned from this experiment. Almanac of Fall This film is an ensemble play about five people living in an apartment. The entire play is about the characters’ changing relationships.
He uses a whole range of framings adapted to the given dramatic situation, as a ‘normal’ feature film would do. Yet the dominant shot type is still the close-up in the dialogue scenes, and dialogue scenes dominate this film too. So the close-up is the dominant shot in the film, but it does not have such strong stylistic value as in Family Nest. indb 33 33 11/03/2013 15:41 minutes long. So the changes in mise-en-scène are due to the wider frame rather than to the longer or shorter takes. This will come later, in Almanac of Fall.