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Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality, however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. In close readings of Michelangelo Antonioni's L'Avventura, Andrei Tarkovsky's Mirror, and the ten short films that make up Krzysztof Kie?lowski's Decalogue series, Mroz highlights how film analysis must consider both particular moments in cinema which are critically significant, and the way in which such moments interrelate in temporal flux. She explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh perspective to film analysis and criticism.Essential reading for students and scholars in Film Studies, this engaging study will also be a valuable resource for critical theorists.
Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship.
This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship. It explores the concepts of duration and rhythm, resonance and uncertainty, affect, sense and texture, to bring a fresh pers
Author : Lee Carruthers Publisher : State University of New York Press Page : 188 pages File Size : 55,5 Mb Release : 2016-06-06 Category : Performing Arts ISBN : 9781438460871
Proposes that cinematic time is not a fixed idea, but a dynamic exchange between film and viewer. Doing Time addresses two areas of interest in recent film study—film temporality and film philosophy—to propose an innovative theorization of cinematic time that sees it as a dynamic process of engagement, or something we do as viewers. This active relation to cinematic time, which discloses a film’s temporal character, is called its “timeliness.” Here it is traced across a range of fascinating case studies from Hollywood and the global art cinema, uncovering each film’s characteristic way of “doing time.” Throughout, the ambiguities of filmic time are held as powerful attractions as they modulate film viewing: such pauses, gaps, repetitions, and stretches of time illuminate a living field that extends from viewing activity. Drawing on the writings of French film critic and theorist André Bazin, as well as the phenomenology of Martin Heidegger and Maurice Merleau-Ponty, Lee Carruthers forwards a claim about the value of cinematic time for thinking. She also raises the tasks of film analysis and interpretation to renewed visibility. By prioritizing the viewer’s experience of filmic temporality, and offering a rich vocabulary for describing this exchange, Carruthers articulates a new sphere of theoretical inquiry that invites film viewers (and readers) to participate. Lee Carruthers is Assistant Professor of Film Studies at the University of Calgary.
This collection analyzes twenty-first-century American television programs that rely upon temporal and narrative experimentation. These shows play with time, slowing it down to unfold the narrative through time retardation and compression. They disrupt the chronological flow of time itself, using flashbacks and insisting that viewers be able to situate themselves in both the present and the past narrative threads. Although temporal play has existed on the small screen prior to the new millennium, never before has narrative time been so freely adapted in mainstream television. The essayists offer explanations for not only the frequency of time play in contemporary programming, but the implications of its sometimes disorienting presence. Drawing upon the fields of cultural studies, television scholarship, and literary studies, as well as overarching theories concerning postmodernity and narratology, Time in Television Narrative offers some critical suggestions. The increasing number of of television programs concerned with time may stem from any and all of the following: recent scientific approaches to quantum physics and temporality; new conceptions of history and posthistory; or trends in late-capitalistic production and consumption, in the new culture of instantaneity, or in the recent trauma culture amplified after the September 11 attacks. In short, these televisual time experiments may very well be an aesthetic response to the climate from which they derive. These essays analyze both ends of this continuum and also attend to another crucial variable: the television viewer watching this new temporal play.
Bodies in Suspense presents a powerful new way to think through postdigital cinema and the affective turn in critical theory. According to Alanna Thain, suspense films allow us to experience the relation between two bodies: that of the film and that of the viewer. Through the “time machine” of suspense, film form, gender, genre, and spectatorship are revealed in innovative and different ways. These films not only engage us directly in ethical concerns, but also provide a key for understanding corporeal power in the digital era. Offering a new framework for understanding cinematic suspense, Bodies in Suspense argues that the “body in time” enables us to experience the temporal dimension of the body directly. This is the first book to link two contemporary frames of analysis: questions of cinematic temporality and contemporary affect theory. Thain conducts close readings of influential suspense films by Alfred Hitchcock, David Lynch, Christian Marclay, Rian Johnson, and Lou Ye, and sets forth a compelling new theory of cinema, reading for the productivity of the “crime of time” that stages the duplicity of cinematic bodies. Through these films that foreground doubled characters and looping, Thain explores Gilles Deleuze’s claim that “the direct time-image is the phantom which has always haunted cinema.” A vital new addition to film theory, corporeality and affect theory, feminist theory, and the philosophy of time—and one of the first books to explore David Lynch’s Hollywood trilogy—Bodies in Suspense asks us to pay attention, above all, to the ways in which the condition of spectatorship creates a doubling sensation with important philosophical repercussions.
The Matrix of Visual Culture by Patricia Pisters Pdf
This book explores Gilles Deleuze's contribution to film theory. According to Deleuze, we have come to live in a universe that could be described as metacinematic. His conception of images implies a new kind of camera consciousness, one that determines our perceptions and sense of selves: aspects of our subjectivities are formed in, for instance, action-images, affection-images and time-images. We live in a matrix of visual culture that is always moving and changing. Each image is always connected to an assemblage of affects and forces. This book presents a model, as well as many concrete examples, of how to work with Deleuze in film theory. It asks questions about the universe as metacinema, subjectivity, violence, feminism, monstrosity, and music. Among the contemporary films it discusses within a Deleuzian framework are Strange Days, Fight Club, and Dancer in the Dark.
Finding the theoretical space where cinema and philosophy meet, Malin Wahlberg's sophisticated approach to the experience of documentary film aligns with attempts to reconsider the premises of existential phenomenology. The configuration of time is crucial in organizing the sensory affects of film in general but, as Wahlberg adroitly demonstrates, in nonfiction films the problem of managing time is writ large by the moving image's interaction with social memory and historical figures. Wahlberg discusses a thought-provoking corpus of classical and recent experiments in film and video (including Andy Warhol's films) in which creative approaches to the time of the image and the potential archive memory of filmic representation illuminates meanings of temporality and time experience. She also offers a methodological account of film and brings Deleuze and Ricoeur into dialogue with Bazin and Mitry on the subject of cinema and phenomenology. Drawing attention to the cultural significance of the images' imprint as a trace of the past, Documentary Time brings to bear phenomenological inquiry on nonfiction film while at the same time reconsidering the existential dimensions of time that have always puzzled humans. Malin Wahlberg is a research fellow in cinema studies at Stockholm University.
Matilda Mroz argues that cinema provides an ideal opportunity to engage with ideas of temporal flow and change. Temporality however, remains an underexplored area of film analysis, which frequently discusses images as though they were still rather than moving. This book traces the operation of duration in cinema, and argues that temporality should be a central concern of film scholarship.
Queer Girls, Temporality and Screen Media by Whitney Monaghan Pdf
This book takes up the queer girl as a represented and rhetorical figure within film, television and video. In 1987, Canada’s Degrassi Junior High featured one of TV’s first queer teen storylines. Contained to a single episode, it was promptly forgotten within both the series and popular culture more generally. Cut to 2016 – queer girls are now major characters in films and television series around the globe. No longer represented as subsidiary characters within forgettable storylines, queer girls are a regular feature of contemporary screen media. Analysing the terms of this newfound visibility, Whitney Monaghan provides a critical perspective on this, arguing that a temporal logic underpins many representations of queer girlhood. Examining an archive of screen texts that includes teen television series and teenpics, art-house, queer and independent cinemas as well as new forms of digital video, she expands current discourse on both queer representation and girls’ studies by looking at sexuality through themes of temporality. This book, the first full-length study of its kind, draws on concepts of boredom, nostalgia and transience to offer a new perspective on queer representation in contemporary screen media.
Taking Hollywood as its focus, this timely book provides a sustained, interdisciplinary perspective on memory and film from early cinema to the present. Considering the relationship between official and popular memory, the politics of memory, and the technological and representational shifts that have come to effect memory's contemporary mediation, the book contributes to the growing debate on the status and function of the past in cultural life and discourse. By gathering key critics from film studies, American studies and cultural studies, Memory and Popular Film establishes a framework for discussing issues of memory in film and of film as memory. Together with essays on the remembered past in early film marketing, within popular reminiscence, and at film festivals, the book considers memory films such as Forrest Gump, Lone Star, Pleasantville, Rosewood and Jackie Brown.
The flashback is a crucial moment in a film narrative, one that captures the cinematic expression of memory, and history. This author’s wide-ranging account of this single device reveals it to be an important way of creating cinematic meaning. Taking as her subject all of film history, the author traces out the history of the flashback, illuminating that history through structuralist narrative theory, psychoanalytic theories of subjectivity, and theories of ideology. From the American silent film era and the European and Japanese avant-garde of the twenties, from film noir and the psychological melodrama of the forties and fifties to 1980s art and Third World cinema, the flashback has interrogated time and memory, making it a nexus for ideology, representations of the psyche, and shifting cultural attitudes.
Thinking Reality and Time through Film by José Manuel Martins,Christine Reeh Pdf
Over the last few decades, film has increasingly become an issue of philosophical reflection from an ontological and epistemological perspective, and the claim “doing philosophy through film” has raised extensive discussion about its meaning. The mechanical reproduction of reality is one of the most prominent philosophical questions raised by the emergence of film at the end of the nineteenth century, inquiring into the ontological nature of both reality and film. Yet the nature of this audio-photographic and moving reproduction of reality constitutes an ontological puzzle, which has widely been disregarded as a main line of enquiry with direct consequences for philosophy. Regarding this background, this volume brings together the best papers from the Lisbon Conference on Philosophy and Film: Thinking Reality and Time through Film, held in 2014. What they all have in common is the discussion of new aspects and approaches of how philosophy relates to film. Whether by philosophizing through concrete examples of films or whether looking at film’s ontological reliance on time and image, or its intra-active entanglement with reality or truth, this book explores grasp film’s nature philosophically, and provides new insights for the film philosopher and the filmmaker, as well as for the freshman fascinated by film for philosophical reasons.
Post-Cinematic Affect is about what it feels like to live in the affluent West in the early 21st century. Specifically, it explores the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities. The 20th century was the age of film and television; these dominant media shaped and reflected our cultural sensibilities. In the 21st century, new digital media help to shape and reflect new forms of sensibility. Movies (moving image and sound works) continue to be made, but they have adopted new formal strategies, they are viewed under massively changed conditions, and they address their spectators in different ways than was the case in the 20th century. The book traces these changes, focusing on four recent moving-image works: Nick Hooker's music video for Grace Jones' song Corporate Cannibal; Olivier Assayas' movie Boarding Gate, starring Asia Argento; Richard Kelly's movie Southland Tales, featuring Justin Timberlake, Dwayne Johnson, and other pop culture celebrities; and Mark Neveldine and Brian Taylor's Gamer.
A new 2024 translation of Martin Heidegger's major work "Being and Time" (Sein und Zeit), originally published in 1927 in multiple publications. This edition contains a new afterword by the Translator, a timeline of Heidegger's life and works, a philosophic index of core Heideggerian concepts and a guide for terminology across 19th and 20th century Existentialists. This translation is designed for readability and accessibility to Heidegger's enigmatic and dense philosophy. Complex and specific philosophic terms are translated as literally as possible and academic footnotes have been removed to ensure easy reading. Being and Time presents a complex philosophical discourse on the nature of being (Sein) and time (Zeit), focusing in particular on the temporal-existentialist concept of Dasein, a term that combines the German words for "to be" (sein) and "there" (da). This classic philosophic work examines the traditional metaphysical understanding of being, arguing that this understanding, typically based on the idea of a constant presence, fails to account for the temporal and existential dimensions of being. Heidegger proposes that an understanding of being requires an analysis of Dasein, which is characterized not only by its existence, but also by its being in the world and its temporal existence. The concept of Dasein is central to the his argument, emphasizing that Dasein is always already situated in a world, and its understanding of being is shaped by its temporal existence. This perspective challenges traditional metaphysical notions of being as static and unchanging, proposing instead that being is fundamentally temporal and connected to human existence and understanding. As the title suggests, Heidegger sees the question of Being as indistinguishable from Time, arguing that Newtonian conceptions of time as a series of now-points are inadequate for understanding the being of Dasein. His Ontochronology argues that the existential and ontological analysis of Dasein reveals a more fundamental concept of time, one that is integral to the structure of Being itself. The text further elaborates on the idea of "thrownness" and several other existentialist themes. Thrownness is one of the three conditions that signifies Dasein's immersion in the world, where it finds itself already entangled in a web of relations and meanings. This "thrownness", combined with Dasein's inherent being-toward-death, underscores the existential condition of human beings, framing their existence as a continual engagement with their own finitude and the possibilities of their being. Heidegger posits that understanding the nature of being requires a fundamental rethinking of both being and time, dogmatically stating that the true nature of being can only be grasped through an understanding of the temporality that characterizes the existence of being.
