Sensing Slowness: A Phenomenology of Slow Cinema Spectatorship

This thesis examines the reception of slow cinema, a type of film known for its austere style and minimalist narrative form. Slow cinema provides a typically contemplative or meditative viewing experience.

The dissertation fills a gap in existing knowledge of the effects of this type of film, such as viewers’ concentration, their experience of time, and their bodily and emotional responses. To this end, the study uses the micro-phenomenological interview method, which explores viewers’ personal experiences.

The research yields several key findings. First, the development of a theoretical model that describes the different ways in which viewers respond to cinematic slowness. This helps to understand the diametrically opposed audience responses that slow cinema provokes.

In addition, the study provides more insight into the viewers' share in the interactions with films, by closely studying their positive, satisfying experiences in particular. In other words, the research sheds new light on what film viewers do and how they derive satisfaction from watching slow films. Hopefully, this will spark enthusiasm in readers, give viewers the necessary tools for a meaningful experience, and invite a broader audience to watch slow cinema.

Finally, the research also contributes to a broader understanding of the aesthetic, ethical, and cultural value of slowness in the broader context of the challenges posed by today’s attention economy.