Film Rhythm and the Aporetics of Temporality

Click to increase image sizeClick to decrease image size

Notes

Notes

1 Tarkovsky, Sculpting in Time: Reflections on the Cinema, p. 113.

2 Ricoeur, Time and Narrative, vol. 2, p. 125.

3 Bazin, “The Ontology of the Photographic Image,” in Film Quarterly, p. 8.

4 Cavell, The World Viewed: Reflections on the Ontology of Film, p. 23.

5 Kracauer, Theory of Film: The Redemption of Physical Reality.

6 Ibid., p. 51.

7 Munsterberg, Hugo Munsterberg on Film: The Photoplay: A Psychological Study and Other Writings, p. 129.

8 Ibid., p. 133.

9 Canudo, “Reflections on the Seventh Art,” in French Film Theory and Criticism: A History/Anthology, 1907–1939, vol. 1, p. 298.

10 Bazin, “Death Every Afternoon,” in Rites of Realism: Essays on Corporeal Cinema, p. 30.

11 Ibid.

12 Ibid.

13 Cavell, World Viewed; Kracauer, Theory of Film; Bazin, Death Every Afternoon.

14 Bazin, Death Every Afternoon, p. 30.

15 Ibid.

16 Deleuze, Cinema 1: The Movement-Image, and Cinema 2: The Time-Image.

17 Ricoeur, Time and Narrative in 1990; Deleuze, Cinema 1 and Cinema 2 in 1989.

18 Dudley, “Tracing Ricoeur,” in Diacritics.

19 Ibid., p. 44.

20 Ricoeur, Time and Narrative, vol. 1, p. 38.

21 Ibid., p. 21.

22 Ibid.

23 Ibid., p. 41.

24 Ibid., p. 22.

25 Doane, The Emergence of Cinematic Time: Modernity, Contingency, The Archive.

26 Ibid., p. 181, original emphasis.

27 Ibid., p. 68.

28 Ibid., p. 138.

29 Ricoeur, Time and Narrative, vol. 2, p. 52.

30 Ibid., p. 148.

31 If one wanted to imagine a maximum threshold, Martin Arnold’s film pièce touchée (1989) would be a viable candidate. This avant-garde work manipulates an 18-second sequence from The Human Jungle (1954), subjecting the otherwise banal scene of a husband greeting his wife at home to a rhythmic deformation, as segments of varying duration are looped back repeatedly, while the image is often flipped on its horizontal or vertical axis. This manipulation minimizes narrative clarity for the rhythmic presentation of movement and gesture.

32 Moussinac, “On Cinegraphic Rhythm,” in French Film Theory and Criticism, p. 283.

33 Jacobs, Film Rhythm after Sound: Technology, Music, and Performance.

34 Eisenstein, “A Dialectical Approach to Film Form,” in Film Form: Essays in Film Theory, p. 47.

35 Ibid.

36 Eisenstein, “Methods of Montage,” in Film Form, pp. 72–83.

37 Eisenstein, “The Filmic Fourth Dimension,” in Film Form, p. 67.

38 Ricoeur, Time and Narrative, vol. 1, p. 33.

39 Ibid., p. 45.

40 The concept of “action” is referenced by David Bordwell in The Classical Hollywood Cinema to explain classical cinema’s orientation of narrative around character motivation. “While films can entirely do without people,” he writes, “Hollywood cinema relies upon a distinction between movement and action,” where action constitutes “the observable projections of personality,” or quoting Frederick Palmer, “the outward expression of inner feelings.” See Bordwell, “Story Causality and Motivation,” in The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, p. 15.

41 Ricoeur, Time and Narrative, vol. 1, p. 34.

42 Ibid., p. 33.

43 Ibid., p. 36, quoting Aristotle.

44 Allanbrook, Rhythmic Gesture in Mozart: Le Nozze di Figaro and Don Giovanni, p. 4.

45 Ibid.

46 Ibid., p. 5.

47 Ibid. p. 8.

48 Mitry, The Aesthetics and Psychology of the Cinema, p. 118.

49 Ibid., p. 121, original emphasis.

50 Ibid., p. 106.

51 Ibid., p. 125, original emphasis.

52 Ricoeur, Time and Narrative, vol. 3, p. 21.

53 Doane, Emergence.

54 Ibid., p. 99.

55 Epstein, “On Certain Characteristics of Photogenie,” in French Film Theory and Criticism: A History/Anthology, 1907–1939, vol. 1, p. 314.

56 Ibid., p. 317.

57 Ibid.

58 Ibid.

59 Ibid.

60 Ricoeur, Time and Narrative, vol. 3, pp. 28–29.

61 Ibid., p. 64, original emphasis.

62 Ibid., pp. 35–36.

63 Ibid., p. 252.

64 Ibid., p. 253.

65 Tarkovsky, Sculpting in Time, p. 235.

66 Ibid., p. 82.

67 Hoberman and Bachmann, “Between Two Worlds,” in Andrei Tarkovsky: Interviews, p. 94.

68 Tarkovsky, Sculpting in Time, p. 113.

69 Ibid., p. 117.

70 Ibid., p. 120, p. 114.

71 Ibid., p. 121.

72 Ibid., p. 119.

73 Tollof, A Critical Theory of Rhythm and Temporality in Film: The Metamorphosis of Memory and History in Tarkovsky’s Mirror (1975), p. 242.