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- W2481567405 abstract "This chapter examines the significance of time for the understanding of the technological change in cinema. Time lies at the heart of celluloid film, in part because it is radically located in the direct contact that analog media perform in their operations. Lev Manovich discusses digital editing as spatial montage where the intervention takes place across the whole spatial field of the image bit by bit. At the same time, he points to an intriguing direction for the analysis of digital temporality by turning to possibilities that stem from a particular operation of the computer: the loop. This chapter explores whether the fragmentary and repetitive operations of the digital can create a sense of duration as a continuous force of change. In particular, it asks if there are potential relations that can bridge the way back to a cinematic image of time. To this end, it considers Gilles Deleuze’s “time-image” in relation to Henri Bergson’s work and Yasujiro Ozu’s movies. It also discusses Garret Stewart’s notion of freeze-frame and several films, including Philip Gröning’s Into Great Silence (2005) , Hollis Frampton’s (nostalgia) (1971), and Chris Marker’s The Pier (1962)." @default.
- W2481567405 created "2016-08-23" @default.
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- W2481567405 date "2012-12-01" @default.
- W2481567405 modified "2023-10-16" @default.
- W2481567405 title "Rediscovering Cinematic Time" @default.
- W2481567405 doi "https://doi.org/10.5749/minnesota/9780816677610.003.0005" @default.
- W2481567405 hasPublicationYear "2012" @default.
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