transforming time by SVEN LÜTTICKEN part 1

SPECIAL QUOTE

in which the images of cinema are seen not as representations but as “light-matter in movement,” as “events of luminous matter.”

how cinema finally realizes a liberated time-image, Bergsonian duration is defined less by succession than by coexistence.All layers of time coexist in the virtual state, open to actualization. One can plunge into and access this present past, this eternity. “The appeal to recollection is this jump by which I place myself in the vir- tual, in the past, in a particular region of the past, at a particular level of contraction.”16 In this way, pure recollection becomes recollection- images, which become actualized or embodied.

he movement-image is still regulated by the “sensory-motor functions” and dominated by the human body and its motions and affects. In the time-image of the nou- velle vague, by contrast, the image becomes erratic, liberated from the sensory-motor schemata.

Barthes’s counterintuitive argument is that the “authentically filmic” is not in fact to be found in the moving image but in frame enlarge- ments, which offer possibilities for reading films against the grain, disassembling and permuting them, undermining linear narrative— the film’s “logico-temporal order”—and allowing for a different flow of images, for “counter-narratives.”

However, most architectural photographs by Förg are devoid of people, focusing on the modernist and/or fascist architecture itself, in black and white or color. Often, the angles from which the pictures have been taken suggest fleeting glances, a subjective point of view, making the spectator into a cinematic witness.

“our culture offers us two different models for gaining control over time—the immobilization of the image in the museum and the immo- bilization of the viewer in the cinema.

"liberation of time"

Like Cornell, Warhol in his early films suggests that the narrative of the liberation of time might bite its own tail, that the end might be found in the beginning. Deleuze notes that in the time-image “move- ment can tend to zero, the character, or the shot itself, remain immobile; rediscovery of the fixed shot.”