Temporality and Film Analysis by Matilda Mroz

By Matilda Mroz

Temporality and picture Analysis is a useful contribution to scholarship on cinema and time. Matilda Mroz argues that cinema presents a fantastic chance to interact with rules of temporal circulate and alter. Temporality, besides the fact that, continues to be an underexplored zone of movie research, which often discusses photos as if they have been nonetheless instead of relocating.

This publication uniquely lines the operation of length in cinema, and argues that temporality may be a significant drawback of movie scholarship. In shut readings of Michelangelo Antonioni's L'Avventura, Andrei Tarkovsky's replicate, and the 10 brief motion pictures that make up Krzysztof Kieslowski's Decalogue sequence, Mroz highlights how movie research needs to contemplate either specific moments in cinema that are significantly major, and how during which such moments interrelate in temporal flux. She explores the options of length and rhythm, resonance and uncertainty, impact, experience and texture, to convey a clean point of view to movie research and feedback, and a brand new method of the problem of temporality in film.

Essential interpreting for college kids and students in movie reports, this attractive research can also be a useful source for serious theorists.

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92. 39. Jean Epstein, ‘Magnification and Other Writings’, October, 3 (1977), p. 13. 40. Doane, ‘Close-Up’, p. 97. 41. Epstein, ‘Magnification’, p. 9. 42. Doane, ‘Close-Up’, p. 109. 43. Paul Willemen, Looks and Frictions: Essays in Cultural Studies and Film Theory (Bloomington: Indiana University Press, 1994), p. 124. 44. Keathley, Cinephilia and History, p. 60. 45.  33. indd 42 19/06/2012 10:09 t ime , in the or y 43 46. Richard Abel, French Film Theory and Criticism: A History/Anthology 1907–1939 (Princeton: Princeton University Press, 1988), p.

Rather than unproblematically ‘completing’ the image in his or her body, the viewer oscillates between seeing the object, recalling the images which it brings into memory, and comparing these with the object before them. 161 This is a participatory form of spectatorship that emphasises how we draw upon our own reserves of memory and association in viewing film. Marks, however, also has some reservations about Bergson’s ‘ability to partake in the fullness of experience’, moving back and forth between perception and memory ‘as though at some great phenomenological buffet table’.

Doane, Cinematic Time, p. 210. 55. , 209. 56. Epstein, ‘Magnification’, p. 10. 57. ), p. 167. 58. ), pp. 58–9. 59. Epstein, ‘Magnification’, p. 9. 60. , p. 9. 61. ), p. 265. 62. Willemen, Looks and Frictions, p. 235. 63. , p. 235. 64. , p. 233. 65. Keathley, Cinephilia and History, p. 8. 66. , p. 9. 67. ), p. 149. 68. Balázs, Béla, Theory of Film: Character and Growth of a New Art, trans. by Edith Bone (London: D. Dobson, 1952), pp. 61–2. 69. Gilles Deleuze, Cinema 1 (London: Continuum, 2005), Cinema 2 (London and New York: Continuum, 2005).

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