In his discussion of the transition from the cinema of the movement-image to the cinema of the time-image, Deleuze famously makes way for the traumatic intrusion of history. This transition, he writes, is not purely internal to cinema, but the result of the emergence of
'‘any spaces whatever’, deserted but inhabited, disused warehouses, waste ground, cities in the course of demolition or reconstruction. And in these any-spaceswhatever a new race of characters was stirring, kind of mutant: they saw rather than acted, they were seers. (1989: xi) '
These spaces are the result of the destruction caused by the Second World War, creating new forms of anonymous or empty space: bombed cities, abandoned villages, the chaos of what Thomas Pynchon, in Gravity’s Rainbow, called “the zone” (1975: 281-616).1 It is these spaces, especially in Italian neo-realism, which will break up the movement-image and release “a little time in a pure state” (Deleuze 1989: xi). Due to the stark emptiness of these spaces and their anonymity, characters or images will no longer be embedded in movement but instead become detached into time.
| Identifer | oai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:72854 |
| Date | 20 November 2020 |
| Creators | Noys, Benjamin |
| Publisher | Universität Leipzig |
| Source Sets | Hochschulschriftenserver (HSSS) der SLUB Dresden |
| Language | English |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, doc-type:article, info:eu-repo/semantics/article, doc-type:Text |
| Rights | info:eu-repo/semantics/openAccess |
| Relation | urn:nbn:de:bsz:15-qucosa2-728155, qucosa:72815 |
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