Erika Magnusson and Daniel Andersson's Logistics (2012) is the longest film ever made, at over thirty-five days in duration. The film endeavors to make the world-spanning network of global logistics perceptible through an experience of the slow journey of the Dutch container-ship Elly Maersk from Gothenburg, Sweden, to Shenzhen, China. Following this document of an oceanic passage that coincided with—and was at one point halted by—the events of the Arab Spring, this article explores how extreme durational cinema raises questions about the position of the spectator and the limits of representation in an era of digitally networked media. It suggests that there exists, beyond the immediate relationship between spectator and image, a correspondence between the magnitude of filmic address and the logistical conditions of art's creation.
∗ Special thanks go to Erika Magnusson and Daniel Andersson for their generosity in providing a copy of the film for study, high-quality frame captures for illustrations, and unbounded insights and hospitality. I would also like to thank Bernadette Wegenstein for the opportunity to workshop this paper at an early stage with JHU's Center for Advanced Media Studies and Anne Eakin Moss, Bécquer Seguín, and Malcolm Turvey for their feedback.