This study is concerned with the use of specific tools from Mikhail Bakhtin’s comprehensive literary work in order to investigate the notion of time/space in Bahram Beyzaie’s 1979 movie, The Crow. Employing the Bakhtinian notion of chronotope in the analysis of the movie as a cinematic text proves helpful in developing the notion of anachronotopicity, which is then utilized to investigate the workings of memory in the movie. The main characters’ utterances, as means of communication and as other manifestations of anachronotopicity, are also explored. Finally, the issue of communicating with a public (or simply another person) in the narrative of the movie is discussed through the Bakhtinian spectrum of communication between monological and open-ended utterances and its relation with the introduced notion of anachronotopicity.

Warburg is one of the most inspiring figures in the German tradition of art historiography. Although one of the well-known aspects of Warburg’s intellectual work is its relation to iconology, this article seeks to go beyond the conventional understanding of Warburg to mapping a picture of his “special” view of the image as a whole. To this end, by re-reading the classic Warburg texts and new interpretations of those texts, an attempt has been made to examine the place of his approach to the “image” in the tradition of German art historiography and the key concepts of his intellectual system in this field. The findings of the article show that in this system of thought, we can see the traces of the ideas of thinkers such as Friedrich Nietzsche, Jakob Burckhardt and Robert Vischer. In this context, Nietzsche’s “Apollonian-Dionysian” dichotomy, Fisher’s concept of “empathy” and Hegelian Burckhardt’s totalitarianism were influential in formulating Warburg’s particular conception of the Renaissance art. In this regard, Warburg devotes himself to the study of a concept called the “afterlife” of antiquity and other concepts such as pathos formula, dialectic, and empathy in Renaissance art and thought. It seems that most of these concepts revolve around the idea of “survival.” According to Warburg, since art has a history, images also had remnants, remnants that reveal themselves in connection with the concept of memory and in connection with a concept called pathos-formula. In this sense, Warburg focuses on gestures and their transmission through art. The result of such an effort is a silent language design free from argument. Expressive gesture analysis offers an unusual way of looking at past shapes and allows the audience to find images of the past in the present. This is the meaning of the afterlife and the survival of the images.