After directing a variety of long takes for his short films (some of them consisting only of a single take) Martin became interested in exploring the theory of this special form of filmmaking. He soon discovered what could be called an alternative version of the history of film form. Instead of telling the success story of montage once again, this version is focused on sustained shots and avoiding picture editing. Currently, Martin analyses long takes (both well-known and obscure) that were made throughout the history of cinema to identify their use of camerawork, inner montage, production design, sound, acting, and set collaboration and their association with different concepts of time and space. He is also engaged in re-reading film theory and film journalism in order to trace and extract different modes of long-take criticism. His thesis is going to be among the first monographs on long takes and uncut audiovisuals in narrative cinema.
Martin is a PhD candidate in Film Studies at the University of Hildesheim in Germany. He received a diploma in Cultural Studies at the University of Hildesheim, a diploma in Screen Studies at the Sydney Film School in Australia, and his work as a filmmaker has been shown and awarded internationally. In theory and practice he is dedicated to the long take and thus his PhD thesis is focused on the history, theory, and aesthetics of film and this special form of shooting and presenting film without editing. Crossing the gap between filmmaker and film scholar, Martin is especially interested in film studies that are informed by technical, logistical, and aesthetic aspects of film production and film directing.