|
Explaining the Function of the Concept of Time-Image as a Form of Recovery of the New in Deleuze's Cinematographic Image with a Look at Mohammad Reza Aslani's Cinema
|
Iman Banakar   , Ramtin Shahbazi * |
| Assistant Professor |
|
|
Abstract: (138 Views) |
For Gilles Deleuze, time in cinema has two main moments; on one hand, it can appear only as a platform for the action of subject, and on the other hand, it can overcome the limitations of recognition by freeing itself from the subordination of the action and give a deeper view of the reality of the object. By proposing the concept of time-image, Deleuze shows that the virtual forces of time remove thought from the sensory-motor schema of cognition and bring it to a state of the unthinkable so that the new image of thought can be recovered in its becoming. This descriptive-analytical article with a qualitative nature examines the time-images in four films of Mohammad Reza Aslani using the library method and image study according to Deleuze’s approach. Considering the hypothesis of the non-chronological presence of time in the narration of these works, the question is how time-images expand the different aspects of the original form of the image and invoke its multiple possibilities. The results show that in the mentioned works, time reproduces the different by passing the image from its apparent function. What happens is the resurrection of an image that, not as a repetition of the identical, but as an image of the possibility of what was in its novelty, returns the new in the structure of cinema and thought to re-establish our links with the world, according to Deleuze.
|
|
| Keywords: Gilles Deleuze, Mohammad Reza Aslani, The new, The resurrection of images, The time-image. |
|
|
Full-Text [PDF 542 kb]
(67 Downloads)
|
Type of Study: Research |
Subject:
Special
Received: 2024/02/22 | Accepted: 2024/07/21
|
|
|
|
|
|
|
| Send email to the article author |
|
|
|
| Add your comments about this article |
|
|
|
