Domietta Torlasco
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804758024
- eISBN:
- 9780804786775
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804758024.001.0001
- Subject:
- Philosophy, Aesthetics
This book interrogates the relationship between time and vision as it emerges in five Italian films from the 1960s and 1970s: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's ...
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This book interrogates the relationship between time and vision as it emerges in five Italian films from the 1960s and 1970s: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's Stratagem, Cavani's The Night Porter, and Pasolini's Oedipus Rex. The center around which these films revolve is the image of the crime scene—the spatial and temporal configuration in which a crime is committed, witnessed, and investigated. By pushing the detective story to its extreme limits, they articulate forms of time that defy any clear-cut distinction between past, present, and future—presenting an uncertain temporality which can be made visible but not calculated, and challenging notions of visual mastery and social control. If the detective story proper begins with a death that has already taken place, the death which seems to count the most in these films is the one that is yet to occur—the investigator's own death. In a time of relentless anticipation, what appears in front of the investigator's eyes is not the past as it was, but the past as it will have been in relation to the time of his or her search.Less
This book interrogates the relationship between time and vision as it emerges in five Italian films from the 1960s and 1970s: Antonioni's Blow-Up and The Passenger, Bertolucci's The Spider's Stratagem, Cavani's The Night Porter, and Pasolini's Oedipus Rex. The center around which these films revolve is the image of the crime scene—the spatial and temporal configuration in which a crime is committed, witnessed, and investigated. By pushing the detective story to its extreme limits, they articulate forms of time that defy any clear-cut distinction between past, present, and future—presenting an uncertain temporality which can be made visible but not calculated, and challenging notions of visual mastery and social control. If the detective story proper begins with a death that has already taken place, the death which seems to count the most in these films is the one that is yet to occur—the investigator's own death. In a time of relentless anticipation, what appears in front of the investigator's eyes is not the past as it was, but the past as it will have been in relation to the time of his or her search.
- Published in print:
- 2008
- Published Online:
- June 2013
- ISBN:
- 9780804758024
- eISBN:
- 9780804786775
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804758024.003.0003
- Subject:
- Philosophy, Aesthetics
This chapter explores the intimacy of vision and death in the film The Night Porter directed by Liliana Cavani. It explains that this film represents the return to the crime scene with respect to ...
More
This chapter explores the intimacy of vision and death in the film The Night Porter directed by Liliana Cavani. It explains that this film represents the return to the crime scene with respect to both the victim's and the aggressor's compulsion to repeat. It shows that the intermittent appearance of closely related forms in the film's flashbacks generate configurations in which the present can no longer be isolated from the past and the future. This chapter also questions Cavani's assumption that the survivor of a violent crime will ultimately fulfill her role as witness by testifying in a court of law.Less
This chapter explores the intimacy of vision and death in the film The Night Porter directed by Liliana Cavani. It explains that this film represents the return to the crime scene with respect to both the victim's and the aggressor's compulsion to repeat. It shows that the intermittent appearance of closely related forms in the film's flashbacks generate configurations in which the present can no longer be isolated from the past and the future. This chapter also questions Cavani's assumption that the survivor of a violent crime will ultimately fulfill her role as witness by testifying in a court of law.
