On the end of the film, in the sequence of the hypercube in which Cooper is trapped, and is allowed to physically communicate over time using gravity, the library that Borges imagined is represented.
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The image, every image, is, in essence, a multiplicity of times and, in turn, a "form" that is frequently updated, which renews processes of the past, which "crystallizes time" but also allows the emergence of aspects of the past that are not relegated to their time of production. In The Fourth Wall , I address the familiar photographic archive from the present as an intruder that submerges in other times.
The work process has proved to be a way of getting involved and feeling part of the family history through the archive and the photography, thereby rediscovering the potential of the imaginary that allows the photographic medium. In this text I adapted some fragments of the following articles: -Centelles Pastor, J. Available here. This happens in such a way that the image in cinematographic movement obeys to the need to capture and reproduce actions that are organized in sequences of causes and effects: each image acts on others and reacts to others in a whole that integrates them: the script.
The Civil Contract of Photography
In that sense, Deleuze criticizes the image-movement considering it as a primitive cinema, developed basically within the stimulus and response scheme that governs its characters and the sequences of actions of their scripts. According to Deleuze, this type of film only stimulates the nervous system of its spectators at one sensory-motor level: its cerebellum, in which it produces laughter, sweat and tears. On the other hand, he argues that only by avoiding the scripts of films can the spectator fully contemplate their images, thus turning an experience conducted by a narrative function into a fully visual experience.
The difference between these two possible functions of the cinematographic image is also a difference of perception, especially of the spectator's experience in relation to time. This kind of drift from the script is kept for the treatment of time the time that a scene lasts , as well as the space shown in the scene. The Italian Neorealism incorporates elements that are usually "disposable" for the classic Hollywood directors. They occur when the protagonists leave the space but their camera does not follow them, nor the action is cut, the camera keeps shooting in the same space after the protagonist left empty, to stay with others who stayed or are about to enter.
This way, the takes are maintained and diverted to include others; these "intermediate moments" seem to be essential, the time and space seem richer than the plot or the story. In these terms, Kogonada defines the essence of Neorealism in this video-essay: These "intermediate moments" that refer to the temporality of the image on the screen, we could also call "temporary interstices", based on the passage of time during the scene.
However, what happens to what is shown on the screen? In that sense, Michelangelo Antonioni's cinema uses unconventional and excessive framings, where his characters appear on one side or half hidden. Antonioni had studied USA abstract painting. His films looked like canvases of modern life in which people partially appear and his vision of empty spaces is related to a peripheral look. Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history.
The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women--from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship?
Her book is essential reading for anyone seeking to understand the disasters of recent history--and the consequences of how these events and their victims have been represented. Escribe tu propio comentario.
Ariella Azoulay: The Civil Contract of Photography
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Azoulay argues that anyone-even a stateless person-who addresses others through photographs or is addressed by photographs, can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography. Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies.