Time, in Theory

Matilda Mroz

in Temporality and Film Analysis

Published by Edinburgh University Press

Published in print August 2012 | ISBN: 9780748643462
Published online January 2013 | e-ISBN: 9780748676514 | DOI:
Time, in Theory

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This chapter outlines how writing on film has frequently privileged particular moments that can be extracted from the flow of a film's time; the temporal continuum of film emerges in much analysis, explicitly or implicitly, as a threatening force. Mroz considers how the momentary has been privileged in many theories of cinema, including early formulations of cinematic experience such as the discourses of photogénie and cinephilia. This chapter then explores in more detail the concepts used in the analyses contained in the book: sensation, affect and duration. Mroz identifies a spectrum of theoretical thought related to embodied viewing and the sensory appeal of cinema, examining the writing of theorists such as Laura Marks and Vivian Sobchack. The chapter argues that, while it is important to be sensitive to the ways in which images can resonate with materiality and hapticity, film analysis should also consider the wider temporal context in which such responses might arise. This chapter posits that in the duration of film viewing sense and thought intertwine. Mroz introduces a Bergsonian concept of duration with variegated rhythms, suggesting that it can be used to explore the way in which temporal strands and rhythms interweave in the duration of a film.

Keywords: Photogénie; Sobchack; Haptic; Sensation; Affect; Thought; Bergson; Duration

Chapter.  14968 words. 

Subjects: Film

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