Subverting the chronotope: the Donnie Darko (2001) case
DOI:
https://doi.org/10.5007/1984-8412.2020.e70764Abstract
This paper analyzes the film Donnie Darko (2001) by director and screenwriter Richard Kelly through the theoretical perspective of Mikhail Bakhtin’s (1981) chronotope. The latter defines it as an intermingling between temporal and spatial relations, artistically assimilated in literature (BAKHTIN, 1981), but in this study it is applied to film studies. Gilles Deleuze’s (1986, 1989) concepts of movement-image and time-image also contribute to the analysis. The film presents sequences of chronotope disruption, which are associated to the main’s characters mental state. Film techniques as parallelism, superimposition and ellipsis contribute to this break in the time and space association. Lastly, the analysis discusses Garret Stewart’s (2007) proposal that the digital cinema contributes to a disruptive cinematography, especially in relation to time-space constructions.
References
BAKHTIN, M. The dialogic imagination. Austin: University of Texas Press, 1981. p. 84-85; 243-258.
BERGSON, H. Creative evolution. Arthur Mitchell Trans. New York: The Modern Library, 1911.
DELEUZE, G. Bergsonism. 1966. Brooklyn, NY: Zone Books, 1988.
DELEUZE, G. Cinema 1: the movement-image. Hugh Tomlinson and Barbara Habberjam Trans. Minneapolis: University of Minnesota Press, 1986.
DELEUZE, G. Cinema 2: The time-image. Hugh Tomlinson and Robert Galeta Trans. Minneapolis: University of Minnesota Press, 1989.
DONNIE DARKO. Dir. Richar Kelly. Twentieth Century Fox, 2001.
HAYWARD, S. Cinema Studies: The Key Concepts. London and New York: Routledge, 2000.
STEWART, G. Framed Time: towards a postfilmic cinema. Chicago and London: University of Chicago Press, 2007.
VASCONCELLOS, J. Deleuze e o cinema. Rio de Janeiro: Editora Ciência Moderna Ltda., 2006.
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