Download PDF by Malin Wahlberg: Documentary Time: Film and Phenomenology (Visible Evidence,

By Malin Wahlberg

Discovering the theoretical house the place cinema and philosophy meet, Malin Wahlberg’s refined method of the adventure of documentary movie aligns with makes an attempt to re-examine the premises of existential phenomenology. The configuration of time is essential in organizing the sensory impacts of movie usually yet, as Wahlberg adroitly demonstrates, in nonfiction movies the matter of coping with time is writ huge through the relocating image’s interplay with social reminiscence and ancient figures.
 
Wahlberg discusses a thought-provoking corpus of classical and up to date experiments in movie and video (including Andy Warhol’s movies) during which inventive techniques to the time of the picture and the capability archive reminiscence of filmic illustration illuminates meanings of temporality and time adventure. She additionally bargains a methodological account of movie and brings Deleuze and Ricoeur into discussion with Bazin and Mitry near to cinema and phenomenology.
 
Drawing consciousness to the cultural importance of the images’ imprint as a hint of the previous, Documentary Time brings to undergo phenomenological inquiry on nonfiction movie whereas whilst reconsidering the existential dimensions of time that experience continually wondered humans.
 
Malin Wahlberg is a examine fellow in cinema reviews at Stockholm University.

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Extra resources for Documentary Time: Film and Phenomenology (Visible Evidence, Volume 21)

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This and other examples in Cinema indicate that Deleuze recognizes cinematic movement in relation to film viewing. To grasp the full implication of this recognition, we have to, in turn, understand the philosophical argument at the core of Deleuze’s film books. ”20 Hence, Deleuze’s time-image expands into a philosophical argument beyond its historical and aesthetic meaning in Cinema 2. 22 Cinema provides a model of perception, according to which the film frame metonymically refers to the mental image of a past event, inscribed by the mnemonic process of our brain.

Also, this approach overlooks the important connections between Bazin’s writings and the crucial position of existential phenomenology in the intellectual debate and cultural activities of postwar France. Similar to Dufrenne’s framing of aesthetic experience, Bazin’s apparent interest in the relation between image and reality is informed by realism as an artistic achievement and as an existential issue beyond both ontology and style. 41 The realist label is questioned and so is the idea that the meaning of realism in Bazin’s essays would coincide with a stylistic category.

The dynamic relations internal to the image presuppose the viewer’s involvement to complete the cinematic sign at hand. The durational impact of Yasujiro- Ozu’s contemplative framings of objects, his cinematic still lifes, is an example that goes beyond the logic of narrative time: At the point where the cinematographic image most directly confronts the photo, it also becomes most radically distinct from it. 18 About the static framing of objects in Ozu’s films, this comment brings attention to the duration of a take that bridges the time of the image and the time of film viewing.

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