Flashforward: The Future is Now.
In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining sig...
| Publicado en: | Deleuze Studies Vol. 5; pp. 98 - 116 |
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| Formato: | Artículo |
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Edinburgh University Press
2011 Supplement
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=67366960&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 67366960 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17502241 2Q70 jtl: Deleuze Studies issn: 17502241 maglogo: N pubinfo: dt: 2011 Supplement vid: 5 pid: 2327 pub: Edinburgh University Press artinfo: ui: 67366960 10.3366/dls.2011.0039 ppf: 98 ppct: 18 formats: fmt: @attributes: type: P size: 98KB tig: atl: Flashforward: The Future is Now. aug: au: Pisters, Patricia su: Image Flash forwards (Cinematography) Filmmaking Deleuze, Gilles, 1925-1995 Philosophers sug: subj: Image Flash forwards (Cinematography) Filmmaking Deleuze, Gilles, 1925-1995 Philosophers keyword: brain is screen database logic flashback flashforward future of the image neuro-image time-image ab: In The Future of the Image (2007) Jacques Rancière states that the end of images is behind us. He argues for an aesthetics of the image that acknowledges the continuing power of images as educating documentations of traces of history, as directly affecting interruptions, and as open-to-combining signs of the visible and the sayable ad infinitum. But does Rancière's claim also concern the future of cinema? His cinematic references, in a Deleuzian sense, are mostly to modern time-images. Is the future of film indeed a form of the time-image, or has the 'heart' of cinema moved beyond this image-type? This paper proposes to look at a third category of cinematographic images, based in the third synthesis of time as developed by Deleuze in Difference and Repetition. This filmic image, that could be called the neuro-image, is connected to the impure regime of images typical for the database logic of the digital age. By comparing Alain Resnais's Hiroshima Mon Amour (1959) to the television series FlashForward (2009), I will analyse the temporal operations of the image of the time-image to these images of a new regime of images, the image of and from the future. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Deleuze Studies is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Deleuze Studies holder: Edinburgh University Press dt: @attributes: year: 2011 holdings: @attributes: islocal: N |
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