![]() ![]() ![]() A carefully constructed point-counterpoint monotony and a repertoire of incessant repetitions are central principles of composition in Krasznahorkai’s work that Tarr’s translates into cinematic language. Challenging the standards of adaptation as a genre, the cinematic version of Satantango’s (7h30’-long) is a bold artistic statement that rekindles discussions on the interplay of narrative time and narrated time in film and literature. This paper attempts to draw an intermedial comparison of László Krasznahorkai’s 1985 novel Satantango and Béla Tarr’s 1994 eponymous adaptation through the perspective of their treatment of time and narration, by reflecting upon the specificities of their respective media. ![]() Somehow, though, both prose and cinematic narrative manage to keep the reader and the spectator arrested – on condition that they are willing to dance. It rains a lot in Satantango, both on page and on screen. ![]()
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