Cinematic Chronotopes : Here, Now, Me

"The site of cinema is on the move. The extent to which technologically mediated sounds and images continue to be experienced as cinematic today is largely dependent on the intensified sense of being 'here,' 'now' and 'me' that they convey. This intensification is fundamentally rooted in the cinematic's potential to intensify our experience of time, to convey time's thickening, of which the sense of place, and a sense of self-presence are the correlatives. In this study, Pepita Hesselberth traces this thickening of time across four different spatio-temporal configurations of the cinematic: a multi-media exhibition featuring the work of Andy Warhol (1928-1987); the handheld aesthetics of European art-house films; a large-scale media installation by Rafael Lozano-Hemmer; and the usage of the trope of the flash-forward in mainstream Hollywood cinema. Only by juxtaposing these cases by looking at what they have in common, this study argues, can we grasp the complexity of the changes that the cinematic is currently undergoing."--Bloomsbury Publishing. Cover Contents List of Illustrations Acknowledgments Introduction The site of cinema Cinematic time Deixis Flashing forward 1 HERE—Locating the Cinematic Expanded cinema: Proliferating screens It’s about time (Or is it?): Situating Other rooms: Re-scaling Outer and inner space: Expanding Locating the cinematic: Here 2 NOW—Navigating Cinematic Time Handheld histories: Authenticity, reflexivity, corporeality Authentic encounters: Zusje (Little Sister) Affective encounters: Rosetta Traumatic encounters: Idioterne (The Idiots) Navigating cinematic time: Now 3 Me—Situating Cinematic Presence 3D and the demise of the Euclidian subject Projection: From subject-effect to presence-effect Presence and the temporality of the event The experience of agency Situating cinematic presence: Me 4 Coda—Flash Forward Notes Filmography and Artworks Bibliography Index