"Give Me a Body Then": Corporeal Time Images (original) (raw)

symploke, 1998

Abstract

movement. Topologically speaking, then, the movement image emerged out of folded images, pockets of movement whose interiority continually This content downloaded from 157.55.39.45 on Fri, 02 Sep 2016 06:13:56 UTC All use subject to http://about.jstor.org/terms 30 Richard Doyle "Give Me a Body Then " referenced the image or frame that was put into motion. The cut that connects, the movement image was riddled with holes but nonetheless formed a chain of commensurables, movements of the same kind that traversed a stable space that would reference them, (connect i cut) With the time image, the cinematic sign changes in character. No longer a series, where each image is commensurable with the last on a unified, divisible plane, the time image is constituted out of the interstice itself, an intermezzo that "begins to have an importance in itself. The cut, or interstice, between two series of images no longer forms part of either of the two series: it is the equivalent of an irrational cut .... It is no longer a lacuna that the associated images would be assumed to cross; the images are certainly not abandoned to chance, but there are only relinkages subject to the cut, instead of cuts subject to the relinkage." This tranformation of the cinematic sign from a regime that renders formal linkages of images to one that comports a continual break, "the irrational cut" that is grafted as a cut and not a becominglinked retools the entire assemblage of subjects and machines that composes cinema. If early cinema and the production of the movement image demonstrated the "impower of thought" with the brain's "filling in" of movement through the flicker of the image, one could not look away the time image sometimes provokes the impower or even the ends of subjectivity. In his discussion of the "media effect" produced by German film maker Hans Jurgen Syberberg, Deleuze notes that the "interstice" between the visual and the sonic renders not subjects entranced to a cinema of Caligaris but rather maps a landscape of informational complexity: the disjunction, the division of the visual and the sound, will be specifically entrusted with experiencing this complexity of informational space. This goes beyond the psychological individual just as it makes a whole impossible; a nontotalizable complexity, "non-representable by a single individual" and finds its representation only in the automaton. (269) This invasion of the screen by new signs, then, marks more than the emergence of a new style or possibility in cinema; it maps a transformation of the effects of representations and the subjects that would bear them. While the movement image, with its kernal of transformation buried "between" each image, mimed and perhaps constituted a subject of interiority whose depths were unrepresentable but potent, true, and secret, the time image, with its incessant interruptions of itself, invests the intermezzo of the image This content downloaded from 157.55.39.45 on Fri, 02 Sep 2016 06:13:56 UTC All use subject to http://about.jstor.org/terms

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