A review of work by Danièle Huillet and Jean-Marie Straub—Chronicle of Anna Magdalena Bach (1967), Class Relations (1984), Sicily! (1998), and A Visit to the Louvre (2004)—which discusses the “Straubian shot,” use of sound and music, and the films' demand for a fully attentive and “fraternal” form of spectatorship.
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Research Article| September 01 2010
Solidarity Not Identification: Straub-Huillet's Radical Cinema
Film Quarterly (2010) 64 (1): 46–52.
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Mark Fisher; Solidarity Not Identification: Straub-Huillet's Radical Cinema. Film Quarterly 1 September 2010; 64 (1): 46–52. doi: https://doi.org/10.1525/FQ.2010.64.1.46
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