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From Light to ByteToward an Ethics of Digital Cinema$
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Markos Hadjioannou

Print publication date: 2012

Print ISBN-13: 9780816677610

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816677610.001.0001

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Rediscovering Cinematic Time

Rediscovering Cinematic Time

(p.143) 4 Rediscovering Cinematic Time
From Light to Byte

Markos Hadjioannou

University of Minnesota Press

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).

Keywords:   cinematic time, technological change, cinema, celluloid film, digital temporality, Gilles Deleuze, time-image, Henri Bergson, freeze-frame

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