Performative Liveness in <Lost in London> (2017) -Live Streaming the Long Take in Global London as a Digital Happening-

초록

<Lost in London> (2017) celebrates claims of liveness in its cultural economy by incorporating the aesthetics of the long take feature film into a novel realm of a digital “happening.” It situates the profilmic event of shooting a long take film in London as a film event that was simultaneously streamed in real time to cinematic audiences in the United States. Based on a recreation of a night Harrelson experienced in 2002 in London, the film’s emphasis on its perceived immediacy is comprised of two performative components that “play themselves” and in doing so blur the distinction between their materiality and their cinematic representation: the cinematic authenticity of a long take film mediatized as a live streaming bravura film event and representing the theater district of London, where Harrelson decided to shoot the film, as a cinematic landmark that doubles as a live stage for the film’s mise-en-scene. These durational and spatial aesthetic components of the long take offer the viewer the sense of connectivity that is perceived as authentic rather than staged and mediatized. Altogether, they constitute <Lost in London’s> allure as a media site for live experience on the silver screen while at the same time offering a permanent availability of that experience.

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