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" The chronotopic imagination: Aberrant times and figures in cinema "
Thomas Carl Odde
M. Turim
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Latin Dissertation
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| Language of Document
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English
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| Record Number
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53453
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| Doc. No
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TL23407
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| Call number
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3249018
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| Main Entry
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Thomas Carl Odde
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| Title & Author
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The chronotopic imagination: Aberrant times and figures in cinema\ Thomas Carl Odde
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| College
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University of Florida
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| Date
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2006
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| Degree
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Ph.D.
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2006
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| Page No
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178-178 p.
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| Abstract
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This dissertation explores two important aspects of filmic discourse, the representation of time and the body as read through gesture. Drawing on the Russian literary theorist Mikhail Bakhtin's notion of the chronotope, or the time-space continuum expressed in literature, it imports Bakhtin's underappreciated idea to analyze and theorize filmic articulations of time. While temporal presence underpins the cinematic image, many filmmakers experiment with temporalities that challenge realist representational strategies. Inventive in their practices, these filmmakers fashion a chronotopic imagination that invites viewers to re-think our own present condition. They seek creative engagements with our past and present, while opening avenues for thinking the future. Equally important, they ask viewers to consider the body as figure of an aberrant time. By creating often unusual and unexpected gestures or bodily dispositions, filmmakers drawn to the chronotopic imagination invest bodies with time. Rather than evincing narrative health and agency, the body instead suffers from time itself. Through close readings of images and sequences, analysis carefully studies how films achieve novel depictions of time and the body. Chapters focus on four important filmmakers---Sergei Eisenstein, Andrey Tarkovsky, Leos Carax, and Abbas Kiarostami---and how they fabricate their respective chronotopes. At first glance, these four filmmakers appear to share little in common stylistically and thematically; they also emerge in different historical contexts. Yet despite these differences, all four develop their distinctive chronotopes by placing emphasis upon unusual gestures including acrobatics, fainting spells, levitations, suicide, stammerings, and failed actions. Through gesture, the body tends to occupy a hiatus separating past, present, and future moments in time. Never present, gesture often entails a process of becoming, in which bodily states and temporal moments are about to be, but are not yet. In such instances, the chronotopic imagination offers creative responses to two important questions for the analysis and theorization of visual culture---what could be and what can a body do.
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| Subject
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Communication and the arts; Chronotopic imagination; Aberrant; Cinema; Eisenstein, Sergei; Tarkovsky, Andrey; Carax, Leos; Kiarostami, Abbas; Russia; France; Iran; Motion pictures; 0900:Motion pictures
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M. Turim
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University of Florida
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