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    Horseplay: Equine performance and creaturely acts in cinema

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    Authors
    HOCKENHULL, STELLA
    Issue Date
    2014
    
    Metadata
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    Abstract
    Béla Tarr’s latest and reputedly final film, The Turin Horse (2011), takes its prompt from the story about an encounter that Nietzsche claims to have experienced with a maltreated horse on Via Carlo Alberto, Turin.[1] Tarr’s film opens with an image of a large horse pulling a cart through the bleak, inhospitable Hungarian landscape. The mare (Ricsi) walks toward the camera, seen in close-up and from a low angle; blinkered and with a sweat-matted coat, she progresses forward, seeming to struggle with the extreme weight of her cargo. As she continues on her journey the camera reveals her driver: Ohlsdorfer (János Derzsi), a stern and unkempt bearded man whose face remains expressionless throughout the film. The wind stirs up dust on the unmade road and blows the man’s hair and the horse’s mane; at this point, with her ears set back and her eyes showing white, the animal’s demeanour signals unease and discomfort. Tarr continues his focus on the horse, the camera roving over her powerful, straining body, thus displaying the arduous work involved in this daily toil. At one point she lowers her head and gathers her strength to pull harder against the wind and, surrounded by dust, she opens and closes her mouth, quickening her pace in the process. Toward the end of the sequence the man alights and leads the animal for the remainder of their journey home.
    Citation
    Hockenhull, S. (2016) 'Horseplay: Equine performance and creaturely acts in cinema', NECSUS, 4 (1), pp 181-198.
    Publisher
    Amsterdam University Press
    Journal
    NECSUS
    URI
    http://hdl.handle.net/2436/620082
    DOI
    10.5117/NECSUS2015.1.HOCK
    Additional Links
    http://www.necsus-ejms.org/portfolio/spring-2015_animals/
    Type
    Journal article
    Language
    en
    Description
    Special Edition European Journal of Media Studies
    ISSN
    2213-0217
    ae974a485f413a2113503eed53cd6c53
    10.5117/NECSUS2015.1.HOCK
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    Faculty of Arts

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