The development of cinematography from the beginning has been accompanied by a consideration of temporal and spatial construction principles and the transition between individual cinematic units as fundamentals of film as an art form. The interplay between aesthetic form and theoretical observation has given rise to a complex understanding of the manifold stratifications and interactions between auditory and visual processes which are often penetrated by static and dynamic elements. Henri Bergson puts forward the model of a »flow of matter« that expands in all directions before it »breaks« on awareness. Elaborating on this model, we can understand the principle of the passage as an all-encompassing mechanism from which »momentary images«, »solidifications«, »objects«, or stable conditions might be derived only in a secondary step. Gilles Deleuze, in his two volumes on the cinema, has expanded these positions to a theory of »classic« and »modern film« based on a typology of »movement and temporal image«, the »sensomotoric« and »purely optical and acoustic symbol« along with considerations on the emancipation of the sound track. In the second part of this article, a passage concept derived from these theories provides the stimulus for an exemplary discussion of »temporal and spatial passages« in film. Claude Lanzmann’s nine-hour documentary Shoah is introduced as a cinematic conception that almost programmatically expounds the problems of the representability of events, closely connected with perception thresholds and temporal and spatial distances. In Lanzmann’s film, a number of variants of »temporal and spatial« passages are opened up from the present. Their performative power circumvents simple correlations between event and representation. With the help of short analyses it can be shown, how Lanzmann designs these »temporal and spatial passages«, how he thematizes and stages them as part of his cinematic act, how he displaces image and sound track and how he thus generates unique auditory scenarios. Conditions and adjustments are abrogated in favour of a permanent movement between highly fragile and unstable instances.
| Identifer | oai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:87074 |
| Date | 12 September 2023 |
| Creators | Schlüter, Bettina |
| Contributors | Universität für Musik und darstellende Kunst |
| Publisher | PFAU-Verlag |
| Source Sets | Hochschulschriftenserver (HSSS) der SLUB Dresden |
| Language | German |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, doc-type:bookPart, info:eu-repo/semantics/bookPart, doc-type:Text |
| Rights | info:eu-repo/semantics/openAccess |
| Relation | 9, urn:nbn:de:bsz:14-qucosa2-854170, qucosa:85417 |
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