SISIFOS
ART AS A THERAPEUTIC TOOL
SITE SPECIFIC INSTALLATION
CREATED FOR THE PUBLIC SPACE
AN INTERDISCIPLINARY RESEARCH PROJECT
Stella Papakonstantinou
Sisyphus and the Turin Horse
Introduction
Sisyphus is a symbol of a repetitive, arduous and futile endeavor that describes the human condition. The myth of Sisyphus, however, has more conceptual implications and from time to time has preoccupied great poets, creators, thinkers and philosophers such as Homer, Ovid, Plato, Albert Camus and Franz Kafka. One of the conceptual extensions of the myth concerns the concept of the “suffering body” as well as the complex concept of “happiness”. The “sick and suffering body”, a concept as relevant as ever, is the beginning of a debate on contemporary issues of illness, trauma and healing. Furthermore, the concept of “happiness” sparks a debate on the concept of “Art as a healing tool”, which helps Man to come closer to the healing of wounds and traumas, that is, to contribute to his path to happiness. On the occasion of the myth of Sisyphus but also the meaning of Art as a healing tool, Stella Papakonstantinou attempts a reading of the film
The Turin Horse, by the award-winning Hungarian film director Béla Tarr.
The dystopian universe that Tarr masterfully composes for human nature and the allegory of the horse as a symbol of its gloomy end, represent an illustration of a collective cultural trauma and the power of Art as a means of healing.
The Nature of Myth
Myths are sacred stories that narrate the creation of the Cosmos, the appearance of the gods, Man and heroes. Myths are the cornerstones of beliefs regarding Nature, Man, the Divine element and the relations between them[1]. They explain how Man is affected by natural phenomena and forces he cannot interpret. Myths express the primary agony of Man regarding existential issues such as the meaning of life and death. It is through myths that humanity tries to face the Divine and rationalize its relationship with it.
According to Anthropologist Maya Deren “myth is the facts of the mind made manifest in a fiction of matter”[2]. Initially, these inexplicable forces are the natural phenomena, and much later, the almighty power of Nature is incarnated into monotheistic or polytheistic religions, in cults of heroes that tame these natural forces or monsters, creatures that exist in a non-binary world between the human and the animal.
Mythology has some more characteristics which are useful for the present study. The first is that, just as there are myths that explain the beginning of the world, so there are myths that foretell its end, that is, the overthrow of the world order and the prevalence of the forces of chaos. The second characteristic is that in almost all mythological narratives, the heroes are separated into two different kinds. There are those heroes who are glorified for their deeds and who prevent the forces of chaos from prevailing and there are those who in some way question the given order and structure of the world and challenge it. This second category of heroes are known as “tricksters”. In classical mythology, well-known figures such as the god Hermes but also the titan Prometheus and the mortal Sisyphus, belong in the “trickster” category of heroes. These are figures that act beyond boundaries and laws: “the importance of “tricksters” in mythology lies in the cultural recognition that life is a paradox and a joke”[3].
An Ancient Greek myth: Sisyphus
Sisyphus owed his fame to his great ingenuity. It seems that his name was pre-Hellenic and originated by the compound “si”, which means God, and “syfos”, which means wise, so Sisyphus was the theosophist[4].Son of Aeolus, he had built the city of Ephyra, the old city of Corinth and was its king. He was a mortal, albeit of divine origin, who managed to deceive Death twice and overthrow the imposed cosmic order of Zeus. For these deeds “he is condemned to an eternal punishment, a continuous drama: he rolls a huge rock up on a steep hill; however, before reaching the top, the rock rolls back down again to the bottom, at the root of the hill. And Sisyphus resumes the struggle of rolling the rock uphill again and again. His martyrdom never ends”[5].
The story of Sisyphus can be interpreted into two different ways: on the one hand there is the effort and the drama perpetua of the endless anxious effort of pushing the rock, knowing that it will roll down again. The result is a repetition of movements towards eternity, an effort that is in vain. However, according to Albert Camus and his work entitled The Myth of Sisyphus, a philosophical work dedicated to the study of the absurd, “Sisyphus is happy and smiling because he is superior to his fate […] his fate belongs to him […] If this myth is tragic, that is because its hero is conscious […] but Sisyphus, proletarian of the gods, powerless and rebellious, knows the whole extent of his wretched condition; it is what he thinks of during his descent. The lucidity that was to constitute his torture at the same time crowns his victory […] The absurd man says yes and his effort will henceforth be unceasing […] Sisyphus teaches the higher fidelity that negates the gods and raises rocks”[6].
A modern Hungarian meta-myth: The Turin Horse
Distinguished Hungarian film director Béla Tarr directed The Turin Horse, partly inspired by an anecdotal event that allegedly took place in Turin on January 3, 1889: “The philosopher Friedrich Nietzsche, upon exiting his residence in the town of Turin, Italy, became witness of the following scene: not far from him, or indeed very far removed from him, a cabman is having trouble with his stubborn horse. Despite all his urging, the horse refuses to move whereupon the cabman, loses his patience and takes whip to the horse. Nietzsche comes up to the throng and that puts an end to the brutal scene of the cabman, who by this time is foaming with rage. The solidly built and full-moustached Nietzsche suddenly jumps up to the cab and throws his arms around the horse’s neck, sobbing. His neighbor takes him home where he lies still and silent for two days on a bed […] He lives for another ten years gentle and demented in the care of his mother and sisters. Of the horse… we know nothing”[7].
Besides its high aesthetic characteristics, its casting and unique cinematographic technique, this last film of Béla Tarr’s is very important for an additional reason: it creates an entire cosmology with respect to Man’s Fall. Based upon greed, humanity destroys not only itself but also all nature and living things. This tale which narrates the end of humanity forms a sort of odd meta-mythology, i.e. a mythology not of the Genesis of Man, but his destruction.
Tarr has chosen to make a horse as a protagonist in his film because the horse has certain qualities due to its co-existence with the human activity: the horse serves Man as a working tool, as a means of transportation, as a symbol of power and status but mostly, as a means of survival on daily labor.
Tarr creates a dystopian universe after a catastrophe, whereby a father and a daughter, trapped in an abandoned farmhouse, repeat a ritual of daily survival, with the few means still left: fire and water. They are surrounded by a gray and threatening nature, embodied through the incessant strong wind. In this “mythical, post-apocalyptic time and space”[8], their only ally is a being found in the lower steps of hierarchy, a horse.
A horse that was once strong and sturdy, a horse that is perhaps their only way out of the vicious cycle of loneliness and survival in this no man’s land. But it is a horse that has been pushed to the edge by hard labor, a proletarian, a worker, who at some point denies her involvement in the catastrophe that is taking place and chooses to cease eating. Essentially, the horse chooses to commit suicide.
This aesthetically and metaphysically complex universe that Tarr creates, is an evolution of the myth of a cosmogony: it is a myth about the end of planet Earth and nature after the catastrophic intervention of man. In this film, Tarr presents once more the overarching themes that preoccupy him, “especially those of labor and its relation to power, religion, society and personal freedom”[9].
“Placid to the point of looking inhuman, Ohlsdorfer and his daughter […], like the horse, endure their primary existence in stoic silence, while their hard work, orderliness and ascetic manner solicit respect if not sympathy”[10]. They are archetypal figures that could resemble the Olympian Gods. In the long scenes of the film, the director often focuses on the hands of the characters, whose movements, especially in the scenes depicting the ritual of eating, are not reminiscent of something human but something that was once human. The dehumanization of Man is too obvious not to be noticed. These modern “Olympian Gods” do not have human characteristics which place them above humanity but instead have the animal characteristics of bare survival, in a reverse mythological analogy.
On the other hand, the horse is slowly and steadily starting to resemble more “human”. The curse of her hard work combined with the gradual realization that she is forced into this perpetual, hopeless condemnation, where nothing changes, make the mare realize the suffocating situation in which she finds himself.
From the horse’s perspective, humans are the “Olympian Gods” and they have the ability to punish without justifying their actions. They have condemned the horse to repeat the same activity, the same labor again and again, exactly as they have done so with Sisyphus. One could argue that the horse occupies the same position as Sisyphus does for the true Olympian Gods. What the horse is for the father and the daughter, who are the gods of her universe, the same is Sisyphus for the Ancient Greek mythological cosmology. However, the horse breaks away from the vicious circle of repeated and forced labor through the choice of her suicide.
As in many Ancient Greek myths, in the symbolic universe of Tarr – who, in many of his films, is preoccupied by the fluid boundaries between human, animal and the Divine- so here, the horse is not just a working animal. The horse develops a sort of empathy and is able to perceive the monologue of the family’s neighbor who comes to take pàlinka (Hungarian fruit brandy) and who talks about the collapse of civilization: «Everything is in ruins; everything has been degraded […] they have ruined and degraded everything. Because this is not some kind of cataclysm […] on the contrary, it is about Man’s own judgement, his own judgement over his own self […] and since they have acquired everything in a sneaky, underhand fight, they have debased everything. This is the way it was until the final victory. Until the triumphant end. Acquire, debase, debase, acquire. It has been going on like this for centuries on and on and on and on […] because for this perfect victory, it was also essential that the other side, thinking everything that is excellent, great in some way and noble, should not engage in any kind of fight. So that by now, these winning champions, who attack from ambush, rule the Earth […] because the sky is already theirs and all our dreams. Theirs is the moment, Nature […] even immortality is theirs, you understand? And those many noble, great and excellent people just stood by. They stopped at this point and had to understand and had to accept that there is neither God nor gods […] but of course, they were quite incapable of understanding it […] they just stood there, bewildered […] until something -that spark from the brain- finally enlightened them. And all at once they realized that there is neither God nor gods […] one was constant a looser, another was constant a winner. Defeat, victory, defeat, victory and one day I had to realize that […] there would never be any kind of change here on Earth[11].
According to András Bálint-Kovacs, “the hopelessness that haunts […] Tarr’s films is not a product of political, financial, or social factors, but the symptom of a universal moral degradation”[12]. In this modern Bestiary,[13] “the suffering, exhaustion, labor and precarity, cross species boundaries” between the animal and the human[14]. As French professor of philosophy and researcher of Tarr’s work, Jacques Rancière suggests in his book Béla Tarr, The Time After, “lived time is connected with pure repetition, there, where human speech and gestures tend towards those of animals”[15]. In addition, “the animal theme”, either as the origin of Man or as its ending, “inhabits Béla Tarr’s universe as the figure through which the human experiences its limit”[16].
The horse bears a double symbolism: on the one hand it is a living being with intelligence that is being exploited, while on the other, it constitutes an “abstract philosophical place”[17]It is an allegory. The incident with Nietzsche in the narration before the first scene but also the very first scene of the film, where we see the horse in this hostile environment dragging the carriage driven by the archetypal character of the father-tyrant, certifies the first event; and at the same time demonstrates the literal pain and forced labor brought about by the intervention of the human animal on the non-human animal.
However, just like in Bestiaries, there is a hidden symbolism: the horse is a symbol of humanization. It is more human than the human. In a masterful way, the film unfolds the Sisyphean repeated effort of the horse, which, upon realizing the quagmire of its existence and its deteriorating condition, finally refuses to move and to eat. The “human lives of routine pitted against a nonhuman life refusing to submit to routine any longer”[18]. However, it is only the nonhuman life that is in a position to grasp the hidden meaning of the neighbor’s monologue who observes the existence of a cast of winners and losers. The horse realizes its defeat and therefore “commits” suicide. In this way, the reverse nature of myth is explained: there exists a meta-mythical situation whereby the film stages a “kind of Genesis story in reverse, an account not of the world’s apocalyptic destruction but rather of its step-by-step de-creation”[19], or a post-myth ending to the story.
A Double Revolution with a different ending
In the present study the elements connecting the Sisyphus myth with the allegory of The Turin Horse are apparent in multiple levels.
On a first level we have two subjects, one human and the other animal, located at the bottom of a hierarchical equation. In the cosmology of the Ancient Greek myth, Sisyphus is the mortal who manages to deceive Death and escape it twice.
This act is essentially a revolution not only because it challenges the status quo of the divine order but also because it also challenges the existential status quo. The detail that is often overlooked is that by chaining Death to Tartarus, Sisyphus prevents Death from executing his duties, i.e. to make people die. This results in a huge demographic problem whereby the Earth can no longer bear the weight of people who do not die. So, here, through the allegory of the Sisyphus myth, we have the cryptic meaning of the enormous agony of Man in relation to the question of whether Death is necessary.
Sisyphus then challenges the divine order as he reveals the love affairs of Zeus and escapes Death for the second time. But the important point that must be emphasized here is that, unlike other beings who belong to the category of “tricksters”, such as the god Hermes, Sisyphus, is mortal. In other words, Sisyphus is for the Olympian Gods what the horse is for the Ohlsdorfer family. In Béla Tarr’s cosmology, which is very near to Nietzsche’s thought regarding the “death of God”, there are no gods nor God, as is revealed by Bernhard the neighbor. Humans play the role of God. They rule over the horse and drag it to forced labor and suffocating routine in a world that falls into ruins. A world which is destructed by their greed and rage for power. Without knowing, these two beings, Sisyphus and the horse, serve this order, until the moment when they decide to revolt. They revolt but they end up in different places. It is of no importance the fact that one of these beings is a human animal and the other is a non-human animal because as already mentioned, the horse acquires human characteristics.
The allegory of the brave and cunning Sisyphus has also another connotation with the Turin horse. This connotation is Time. The “lived” time, experienced by both the horse herself and the spectator watching the film through Tarr’s extensive long-shot scenes, makes the drama perpetua of the horse even a bigger martyrdom while the horse is still alive.
The eternity of time or the time “out of joint” that is experienced by Sisyphus in Tartarus, the horse experiences it while still alive. At the course of the Ancient Greek myth as well as at the course of the modern Bestiary, “the circular structure recalls Friedrich Nietzsche’s idea of “eternal return”[20], sustained by the “monotonous repetition and infinitely slow and ruthless seclusion”[21].
The motif of the eternal punishment connects Sisyphus to the horse and is depicted by Tarr in a magnificent way. Through his long shots, Tarr captivates these “crystals of time”, in which “cosmic pressure” is concentrated[22]. Tarr’s images belong to a certain category that Gilles Deleuze named “time-images”. For Gilles Deleuze, these “time-images” -as opposed to the movement-images- do not depict an action, but a description. They render time perceptible through the subordination of movement to duration[23]. In the time-image, the “time is out of joint […] It is no longer time that depends on movement; it is aberrant movement that depends on time”[24]. This way by which time and movement intertwine into a perpetual choreography, resembles the “choreographed” action of Sisyphus where the rolling of the rock up and down, up and down, again and again, encloses the literality of the end of time, of the time which is still and dead. The same still applies to the labor that the horse is forced to do by Men who are the gods of the horse’s universe.
Another element by which Sisyphus is connected to the Turin horse is the notion of the suffering body. When Ulysses descends into Hades in order to find Teiresias the Seer, in the Odyssey, he also encounters Sisyphus who is serving his sentence: “Aye, and I saw Sisyphus in violent torment, seeking to raise a monstrous stone with both his hands. Verily he would brace himself with hands and feet, and thrust the stone toward the crest of a hill, but as often as he was about to heave it over the top, the weight would turn it back, and then down again to the plain would come rolling the ruthless stone. But he would strain again and thrust it back, and the sweat flowed down from his limbs, and dust rose up from his head”[25].
Homer, Odyssey, Book 11
Through an odd narrative connection link, British cinema researcher and filmmaker Stella Hockenhull, describes the first scene of The Turin Horse in which the camera films the horse pulling the Ohlsdorfer father’s carriage, in adverse weather conditions and under the fear of the father’s whip:
“The wind stirs up dust […] on the horse’s mane; at this point, with her ears set back and her eyes showing white, the animal’s demeanor 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. And this takes place time and again, time and again”[26].
These two beings experience the “drama of the body”. Two suffering bodies entrapped into a perpetual movement from which there is no escape. Bodies that get sick because they reach their limits and yet they continue. Homer’s description of Sisyphus’s martyrdom and the British researcher’s description of the Turin horse, connect these two bodies with a common denominator: the human perception of mortality and the afterlife but also of life itself. The concept of the body which is deformed by the pain of repetitive work, sweating and submerged in dust, is however a sign that it is still alive.
Conclusion
The Turin horse reaches a level of empathy that enables it to embrace freedom and to decide for its own fate. This is the redemptive act of suicide and happiness since the horse, in all consciousness, breaks free from the chain imposed to her by the almighty Human-Gods and renders them unable to take advantage of their power upon her. This is the paradoxical optimism of the horse Bestiary in Tarr’s film.
Sisyphus is in constant motion. He creates and produces labor. He does not remain inactive and placid and in fact does not submit to the higher power of the gods. One could perceive the sense of martyrdom that he is going through. However, one, can also grasp the real liberation that this entails if one considers contemporary events that have taken place in Greece regarding the extermination of political opponents. A characteristic example is that of the political exiles of the Greek Civil War who were forced to carry heavy piles of stone from one place to another. By this forced and heavy labor, the then “Olympian Gods”, were attempting to break the morale of their opponents. However, they came across a different reality: this Sisyphean task did not bend the political exiles’ mental and psychological superiority. On the contrary, it strengthened their desire to resistance and subordination to a “superior will”. This is what is stated in the myth of Sisyphus. Human nature has enormous potential when it comes to resisting and resolutely pursuing happiness. Sisyphus overcomes the constant torment, the eternal punishment and becomes happy, as Camus says. He is happily aware that he worked for the liberation of the human race from the compulsion and slavery of Death.
BIBLIOGRAPHY
Camus, Α., The Myth of Sisyphus, Penguin Modern Classics, translated by Justin O’ Brien, Penguin Books, Great Britain, 1979
Deleuze, G., Cinema II: The Time Image, translated by Hugh Tomlinson & Robert Galeta, The Athlone Press, London, 2000
Encyclopedia Britannica, “Bestiary”, retrieved on the 21/01/2022 from website: https://www.britannica.com/art/bestiary-medieval-literary-genre
Hockenhull, S., “Horseplay: Equine Performance and Creaturely Acts in Cinema”, NECSUS: European Journal of Media Studies, Spring 2015. Retrieved on the 18/01.2022 from website:
Homer. The Odyssey, with an English Translation by A.T. Murray, PH.D. in two volumes, Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd, 1919, retrieved on the 10/02/2022 from website: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0136%3Abook%3D11%3Acard%3D567
Irimia, A., “Matters of Time in László Krasznahorkai’s and Béla Tarr’s Sátántangó”, EKPHRASIS: Cinema, Cognition and Art, 2/2018, retrieved on the 26/12/2021, from website:
www.researchgate.net/publication/330169428
James, P.,(edited), The Cinema of Central Europe, Peter James, London: Wallflower Press, 2004
Kakridis, I.T., Greek Mythology: The Heroes, [Elliniki Mythologia: Oi Iroes], Vol. 3, Athens Publishing [Ekdotiki Athinon], Athens, 1986
La Capra, D., History and its Limits: Human, Animal, Violence, Cornell University Press, USA, 2009
Mazierska, E., (edited), Work in Cinema: Labor and the Human Condition, Palgrave Macmillan, New York, 2013
Mc Mahon, L., Animal Worlds: Film, Philosophy and Time, Edinburgh University Press, UK, 2019
Mega Etymologiae in the word “Sisyphus”, Efstathius 631, 25 in Z 153, [Μega Etymologikon sti lexi “Sisyphos”, Efstathios 631, 25 sto Z 153], retrieved on the 17/01/2022 from website:
https://anemi.lib.uoc.gr/metadata/c/b/0/metadata-46-0000000.tkl
Papakostas, Y.G., Papakosta, V.M., Markianos, M., “The Notion of “Sisyphus Task” in Medicine: A Reconstruction”, PSYCHIATRIKI, Vol. 19, Issue 4, 2008
Rancière, J., Béla Tarr, The Time After, translated by Erik Beranek, Minneapolis: Univocal, 2013
Wilkinson, P. & Philip, N., Mythology: Creation Stories, Gods, Heroes, Monsters, Mythical Places, Eyewitness Companions, Dorling Kindersley Limited, United Kingdom, 2007
FILMOGRAPHY
The Turin Horse, directed by: Béla Tarr & Agnes Hranitzy, screenplay by László Krasznahorkai & Béla Tarr. Coproduction of Hungary, France, Germany, Switzerland, USA, 2011, DVD
[1] Wilkinson, P. & Philip, N., Mythology: Creation Stories, Gods, Heroes, Monsters, Mythical Places, Eyewitness Companions, Dorling Kindersley Limited, United Kingdom, 2007, p. 14-15
[2] Ibid. p. 15
[3] Wilkinson, P. & Philip, N., Mythology: Creation Stories, Gods, Heroes, Monsters, Mythical Places, Eyewitness Companions, Dorling Kindersley Limited, United Kingdom, 2007, p. 24
[4] Mega Etymologiae in the word “Sisyphus”, Efstathius 631, 25 in Z 153, [Μega Etymologikon sti lexi “Sisyphos”, Efstathios 631, 25 sto Z 153], retrieved on the 17/01/2022 from website:
https://anemi.lib.uoc.gr/metadata/c/b/0/metadata-46-0000000.tkl as is also mentioned in Kakridis, I.T., Greek Mythology: The Heroes, [Elliniki Mythologia: Oi Iroes], Vol. 3, Athens Publishing [Ekdotiki Athinon], Athens, 1986, p. 251
[5] Kakridis, I.T., Greek Mythology: The Heroes, [Elliniki Mythologia: Oi Iroes], Vol. 3, Athens Publishing [Ekdotiki Athinon], Athens, 1986, p.251
[6] Camus, Α., The Myth of Sisyphus, Penguin Modern Classics, translated by Justin O’ Brien, Penguin Books, Great Britain, 1979, p. 108-111
[7] The Turin Horse, directed by: Béla Tarr & Agnes Hranitzy, screenplay by László Krasznahorkai & Béla Tarr. Coproduction of Hungary, France, Germany, Switzerland, USA, 2011, DVD
[8] Stojanova, C., “The Damnation of Labor in the Films of Béla Tarr”, Work in Cinema: Labor and the Human Condition, edited by Ewa Mazierska, Palgrave Macmillan, New York, 2013, p. 183
[9] Ibid, p. 169
[10] Ibid, p. 183-184
[11] The Turin Horse, directed by: Béla Tarr & Agnes Hranitzy, screenplay by László Krasznahorkai & Béla Tarr. Coproduction of Hungary, France, Germany, Switzerland, USA, 2011, DVD
[12] Bálint-Kovacs, Α., “Sátántángó”, The Cinema of Central Europe, edited by Peter James, London: Wallflower Press, 2004, p. 237-244
[13] Bestiary: “Is a literary genre in the European Middle Ages consisting of a collection of stories, each based on a description of certain qualities of an animal, plant, or even stone. The stories presented Christian allegories for moral and religious instruction and admonition. The numerous manuscripts of medieval Bestiaries ultimately are derived from the Greek Physiologus, a text compiled by an unknown author before the middle of the 2nd century AD. It consists of stories based on the “facts” of natural science as accepted by someone called Physiologus (Latin: “Naturalist”), about whom nothing further is known, and from the compiler’s own religious ideas”. Encyclopedia Britannica, “Bestiary”, retrieved on the 21/01/2022 from website: https://www.britannica.com/art/bestiary-medieval-literary-genre
[14] Mc Mahon, L., “The Turin Horse: Animal Labor and Lines of Flight”, Animal Worlds: Film, Philosophy and Time, Edinburgh University Press, UK, 2019, p. 95
[15] Rancière, J., Béla Tarr, The Time After, translated by Erik Beranek, Minneapolis: Univocal, 2013, p. 9
[16] Ibid, p. 77
[17] La Capra, D., History and its Limits: Human, Animal, Violence, Cornell University Press, USA, 2009, p. 166
[18] Mc Mahon, L., “The Turin Horse: Animal Labour and Lines of Flight”, Animal Worlds: Film, Philosophy and Time, Edinburgh University Press, UK, 2019, p. 98
[19] Ibid, p. 98
[20] Irimia, A., “Matters of Time in László Krasznahorkai’s and Béla Tarr’s Sátántangó”, EKPHRASIS: Cinema, Cognition and Art, 2/2018, p. 218 retrieved on the 26/12/2021, from website:
www.researchgate.net/publication/330169428
[21] Bálint-Kovacs, Α., “Sátántángó”, The Cinema of Central Europe, edited by Peter James, London: Wallflower Press, 2004, p. 239
[22] Rancière, J., Béla Tarr, The Time After, translated by Erik Beranek, Minneapolis: Univocal, 2013, p. 34-35
[23] Irimia, A., “Matters of Time in László Krasznahorkai’s and Béla Tarr’s Sátántangó”, EKPHRASIS: Cinema, Cognition and Art, 2/2018, p. 220-221, retrieved on the 26/12/2021, from website:
www.researchgate.net/publication/330169428
[24] Deleuze, G., Cinema II: The Time Image, translated by Hugh Tomlinson & Robert Galeta, The Athlone Press, London, 2000, p. 41
[25] Homer. The Odyssey, with an English Translation by A.T. Murray, PH.D. in two volumes, Cambridge, MA., Harvard University Press; London, William Heinemann, Ltd, 1919, retrieved on the 10/02/2022 from website: http://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0136%3Abook%3D11%3Acard%3D567
[26] Hockenhull, S., “Horseplay: Equine Performance and Creaturely Acts in Cinema”, NECSUS: European Journal of Media Studies, Spring 2015, retrieved on the 18/01.2022 from website:
Sisifos 