2002-12-29 01:00:11尚未設定
Out of The Field (12)-On Mulholland Drive
*** After reading my series of articles ( please from NO.1 ), you may have a clear idea about how to deconstruct postmodern films.
*** I will help you and myself to avoid a mind-crash on David Lynch's Mulholland Drive and unfold the mystery in Memento.
The mobile frame is an aspect of the movement image and according to Deleuze it belongs historically to classical film. For the classical film he acknowledges the " existence " of an out-of-field, of which we finally have to ask if it has the quality of a concrete space or an imaginary sapce. The answer depends upon the relative or absolute aspect of framing. The relative aspect belongs to a form of pragmatically justifield deframing: the frame refers to a space which is not yet seen but which may be turned to be visible and doing so gives rise to a new out-of-field. The absolute aspect means that the frame is a closed system that opens up to duration, which is immanent to the whole universe. The whole universe is not a set, does not belong to the order of the visible, it is not an image, it is open.
Deleuze's cinema is a closed system functioning as a pipeline to the open. It is a set of frames, a composition of elements that epitomize the universe but can not contain it. It is a set of frames that actualize the relation with other frames and virtualized the relation with the whole. The actual connection of frame is likened to a thick thread, the virtual connection with the Open is symbolized by the thinnest thread that is woven of the material, of which dreams are made of, the axis of a vertigo.
With the introduction of " time image " it has become possible to create a frame as a sheet of time, a slice of the spiral of time and to the paradigm of pictorial frame and mobile frame I propose to add the third one: the jumping frame, which corresponds to Deleuze's crystal image.
*** I will help you and myself to avoid a mind-crash on David Lynch's Mulholland Drive and unfold the mystery in Memento.
The mobile frame is an aspect of the movement image and according to Deleuze it belongs historically to classical film. For the classical film he acknowledges the " existence " of an out-of-field, of which we finally have to ask if it has the quality of a concrete space or an imaginary sapce. The answer depends upon the relative or absolute aspect of framing. The relative aspect belongs to a form of pragmatically justifield deframing: the frame refers to a space which is not yet seen but which may be turned to be visible and doing so gives rise to a new out-of-field. The absolute aspect means that the frame is a closed system that opens up to duration, which is immanent to the whole universe. The whole universe is not a set, does not belong to the order of the visible, it is not an image, it is open.
Deleuze's cinema is a closed system functioning as a pipeline to the open. It is a set of frames, a composition of elements that epitomize the universe but can not contain it. It is a set of frames that actualize the relation with other frames and virtualized the relation with the whole. The actual connection of frame is likened to a thick thread, the virtual connection with the Open is symbolized by the thinnest thread that is woven of the material, of which dreams are made of, the axis of a vertigo.
With the introduction of " time image " it has become possible to create a frame as a sheet of time, a slice of the spiral of time and to the paradigm of pictorial frame and mobile frame I propose to add the third one: the jumping frame, which corresponds to Deleuze's crystal image.