Oltre lo spazio e il tempo. Regie e pratiche del pianosequenza nel videomusicale contemporaneo

Within the stories and theories of cinema, the long-take represents one of the stylistic and conceptual reasons of maximum ethical and aesthetic reflection. Enhanced by both realistic and formalistic theories, the practice of the long-take symbolizes the paradigmatic expression of an authorial tension that is confronted with the evolution of the forms of staging and its technological dictates. Particularly in contemporary era, the expressive possibilities allowed by the electronic arts first, and then by digital, have reconfigured the logic representative of the long-take: variously denied, rebuilt, altered. That is how that even in the context of music video the long-take represents a habitual and revitalized stylistic mode, which goes beyond the ideological continuity and reproductive conformity of space-time, to introduce the viewer into a kaleidoscopic space universe, prospectively complex and temporally incongruous. Often used as a stunt and stylistic challenge by the director, the long-take in the music video rewrites the consolidated formulas, from the narrative key, preferring a multi-strand story, segmented and non-linear; to the performative one, exaggerating the choreographic forms of the relationship between bodies, sets and dance in a hyperbolic way; and even conceptual, sinking the gaze into a hypnotic hyper-realistic, illusionistic and often disturbing scenario.