Embalming Time is a theoretical inquiry into the temporality of film - consisting of three parts - in associative conversation with a visual thesis. The first chapter of the thesis is centered...Show moreEmbalming Time is a theoretical inquiry into the temporality of film - consisting of three parts - in associative conversation with a visual thesis. The first chapter of the thesis is centered around more ‘classical’ thought about the temporality of film; ranging from Andre Bazin to Roland Barthes’ view on cinema and its impossibility to have a punctum - and how these are brought together and critically reworked by Laura Mulvey. The second chapter revolves around Gilles Deleuze’s Cinema books and the Bergsonian heritage of his conception of film as a medium. The third and last chapter (featuring at once one of the most recent film-philosophers and arguably the oldest) discusses Jacques Rancière’s writings on cinema, focusing on film’s opsis -its pure visuality -over the narrative qualities of the medium, and dives deeper into the influence of Jean Epstein’s thinking about film, focused through his discussions of photogénie and slow motion. Together, these three chapters form a tentative inquiry towards the possibility of a new cinematic form, of which the temporality of the filmic medium is integrally and inextricably part.Show less
In this thesis, Bergson's and Du Prel's notion of layered consciousness is explained and reviewed. In light of their theories, we discuss the possibility and (a) possible explanation(s) of artists...Show moreIn this thesis, Bergson's and Du Prel's notion of layered consciousness is explained and reviewed. In light of their theories, we discuss the possibility and (a) possible explanation(s) of artists who claim to be inspired by their dreams. In this way, we see how the idea of consciousness as layered can act as a condition of possibility for the notion of 'dreaminspiration'.Show less
