БАВНИОТ ФИЛМ И ЕСТЕТИКАТА НА ДОСАДАТА: ДОСАДАТА КАКО ЛАЈТМОТИВ ВО ФИЛМОТ БЕШЕ ЕДНАШ ВО АНАДОЛИЈА
The Slow Cinema and the Esthetics of Boredom: Boredom as Light Motif in the Film Once Upon a Time in Anatolia

Summary/Abstract: Boredom is one of the most unpleasant feelings. Boredom is an enemy not only personally but also at the societal level. As if there is a conspiracy against boredom: an endless stream of flashing street advertising, fun mobile videos of kittens and the latest jokes from around the world. But what if this “war on boredom” is actually a war on self-knowledge? Since, in boredom we find time for ourselves. Only then we are forced to think and ask ourselves. Only in boredom are we free to be present have on ourselves. Only in boredom will we come to ourselves, free from all the distractions of the everydayness. This text will contribute to the understanding of boredom, or more specifically to the aesthetics of boredom in the ‘slow film’, on the basis of the philosophy of Martin Heidegger, in order to open up to Socrates’s essential philosophical call: “know thyself.” The example from the film of the Turkish cinematographer Nuri Bill Ceylan Once upon a time in Anatolia will serve as an illustration of this aesthetic-existential goal.

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