Social observation in miniature: Ruben Östlund's short films as a model for his feature films

Publikation: Bidrag til tidsskriftTidsskriftartikelfagfællebedømt

Standard

Social observation in miniature : Ruben Östlund's short films as a model for his feature films. / Langkjær, Birger.

I: Studies in European Cinema, 2023.

Publikation: Bidrag til tidsskriftTidsskriftartikelfagfællebedømt

Harvard

Langkjær, B 2023, 'Social observation in miniature: Ruben Östlund's short films as a model for his feature films', Studies in European Cinema. https://doi.org/10.1080/17411548.2023.2224730

APA

Langkjær, B. (2023). Social observation in miniature: Ruben Östlund's short films as a model for his feature films. Studies in European Cinema. https://doi.org/10.1080/17411548.2023.2224730

Vancouver

Langkjær B. Social observation in miniature: Ruben Östlund's short films as a model for his feature films. Studies in European Cinema. 2023. https://doi.org/10.1080/17411548.2023.2224730

Author

Langkjær, Birger. / Social observation in miniature : Ruben Östlund's short films as a model for his feature films. I: Studies in European Cinema. 2023.

Bibtex

@article{fc32727d7fd744fc9b8ffdb03b8535ea,
title = "Social observation in miniature: Ruben {\"O}stlund's short films as a model for his feature films",
abstract = "This article focuses on Ruben {\"O}stlund{\textquoteright}s two short films Autobiographical Scene Number 6882 (2005) and Incident by a Bank (2010) and argues that they align intimately with his feature films. This argument has two parts: First, {\"O}stlund{\textquoteright}s short films have a distinct authorial signature that depends on his portrayal of social interaction that develops in awkward ways, the {\textquoteleft}durative{\textquoteright} long shot and the films{\textquoteright} ironic tone. This signature is visible in his short films as well as in his feature films. In other words, his short films are like his feature films, only in a miniature format. Second (and more surprising), he has not only used his short films to develop the signature of his feature films in terms of motifs and visual style, but also kept the short film storytelling format as an integral and structuring principle of his feature films. This is most salient in his reliance on stand-alone qualities of single but lengthy scenes that may or may not connect in terms of action and causality such as the avalanche scene in Force Majeure and the monkey performance in The Square, but also throughout Involuntary and Triangle of Sadness.",
keywords = "Faculty of Humanities, Ruben {\"O}stlund, short film, Scandinavian cinema, narration, social psychology, art film",
author = "Birger Langkj{\ae}r",
year = "2023",
doi = "10.1080/17411548.2023.2224730",
language = "English",
journal = "Studies in European Cinema",
issn = "1741-1548",
publisher = "Routledge",

}

RIS

TY - JOUR

T1 - Social observation in miniature

T2 - Ruben Östlund's short films as a model for his feature films

AU - Langkjær, Birger

PY - 2023

Y1 - 2023

N2 - This article focuses on Ruben Östlund’s two short films Autobiographical Scene Number 6882 (2005) and Incident by a Bank (2010) and argues that they align intimately with his feature films. This argument has two parts: First, Östlund’s short films have a distinct authorial signature that depends on his portrayal of social interaction that develops in awkward ways, the ‘durative’ long shot and the films’ ironic tone. This signature is visible in his short films as well as in his feature films. In other words, his short films are like his feature films, only in a miniature format. Second (and more surprising), he has not only used his short films to develop the signature of his feature films in terms of motifs and visual style, but also kept the short film storytelling format as an integral and structuring principle of his feature films. This is most salient in his reliance on stand-alone qualities of single but lengthy scenes that may or may not connect in terms of action and causality such as the avalanche scene in Force Majeure and the monkey performance in The Square, but also throughout Involuntary and Triangle of Sadness.

AB - This article focuses on Ruben Östlund’s two short films Autobiographical Scene Number 6882 (2005) and Incident by a Bank (2010) and argues that they align intimately with his feature films. This argument has two parts: First, Östlund’s short films have a distinct authorial signature that depends on his portrayal of social interaction that develops in awkward ways, the ‘durative’ long shot and the films’ ironic tone. This signature is visible in his short films as well as in his feature films. In other words, his short films are like his feature films, only in a miniature format. Second (and more surprising), he has not only used his short films to develop the signature of his feature films in terms of motifs and visual style, but also kept the short film storytelling format as an integral and structuring principle of his feature films. This is most salient in his reliance on stand-alone qualities of single but lengthy scenes that may or may not connect in terms of action and causality such as the avalanche scene in Force Majeure and the monkey performance in The Square, but also throughout Involuntary and Triangle of Sadness.

KW - Faculty of Humanities

KW - Ruben Östlund, short film, Scandinavian cinema, narration, social psychology, art film

U2 - 10.1080/17411548.2023.2224730

DO - 10.1080/17411548.2023.2224730

M3 - Journal article

JO - Studies in European Cinema

JF - Studies in European Cinema

SN - 1741-1548

ER -

ID: 367296048