The crystal-image in the film “Timecode”

Authors

  • João Paulo de Carvalho dos Reis e Cunha Universidade de Sorocaba
  • Maria Ogécia Drigo Universidade de Sorocaba - Uniso

DOI:

https://doi.org/10.5007/1807-9288.2020v16n2p317

Abstract

In order to verify whether the crystal-image manifests itself in the film Timecode (2000), by Mike Figgis, we present the specificities of this cinematographic work, mainly in relation to its montage; we approach spatial montage, in the perspective of Manovich (2001); the concept of crystal-image, according to Deleuze (1990) and, finally, we make a panoramic analysis of several situations in which crystalline circuits are established in the film, focusing on investigating in detail three moments in particular. Among the results, we highlight that the images that present a virtual double, with which they form the crystal, place the viewer as an integral part of the crystalline circuits, since the viewer contributes with his experiences in the linear combination of the multiple images. Thus, the formation of crystals traditionally inherent to the imagery and narrative elements is shifted to the dynamics of the relationship between the film and the viewer.

References

DELEUZE, Gilles. Cinema 1 – A imagem-movimento. São Paulo: Brasiliense, 1985.

DELEUZE, Gilles. Cinema 2 – A imagem-tempo. São Paulo: Brasiliense, 1990.

MANOVICH, Lev. The language of new media. Cambridge: MIT Press, 2001.

TIMECODE. Direção: Mike Figgis. Produção: Mike Figgis e Annie Stewart. Intérpretes: Stellan Skarsgård; Jeanne Tripplehorn;

Salma Hayek; Saffron Burrows; Holly Hunter; Richard Edson et al. Roteiro: Mike Figgis. Música: Mike Figgis e Anthony

Marinelli. EUA: Columbia TriStar Home Video, 2000. 1 DVD (97 min), estéreo, widescreen, color.

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Published

2020-12-22

Issue

Vol. 16 No. 2 (2020): Imagens e imaginários na era digital/virtual

Section

Dossiê

License

Copyright (c) 2020 João Paulo de Carvalho dos Reis e Cunha, Maria Ogécia Drigo

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