Oct 3, 2020
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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my newest documentary short film TIME-IMAGE: TRANSCENDENTAL STYLE WITH PAUL SCHRADER premieres Saturday, December 1st
It is necessary to combine the optical-sound image with the enormous forces that are not those of a simple intellectual consciousness, nor of the social one, but of a profound, vital intuition.
Cinema II: Time-Image, Gilles Deleuze
In the time-image cinema allows for past perceptions to cut into the present, displaying the very potential of time: time as disruption of what is (the actual) by difference.
Claire Colebrook. Understanding Deleuze
Watch time getting frozen in these hypnotizing subway station videos
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on reading Deleuze's Cinema I & II . . .
Between Virtual and Actual For Bergson, the present is a dynamic interpenetration of past and future. The aspect of our lived world that is here for us right now, in the present moment as that which ‘feels most real to us’, is what he calls the actual. When I hold an object in my hand, say, a coffee mug, it feels more real than the memory of a coffee mug, or an image of a coffee mug on a TV screen. That feeling of being more real is what allows us to tell an actual coffee mug from one which is less real, so to speak, or more virtual. An image of a coffee mug in memory, or in a film, is thus a virtual image, while the one we hold in our hand at any given moment is an actual image (and remember, everything is an image for Deleuze, because when he says image it is, for him, and following Bergson, a way of saying a ‘slice of the world’). Worldslices, or images, come in many shades of actuality, and some are more actual and less virtual, or more virtual and less actual, than others.
Time image
What is a review? It is a singularity, a wrapping-up, a narrow-eyed summing up. This film requires some pointing towards, however, and though I watched it several years ago, I returned to it, and the second time was more illuminating. Something about new Asian cinema, especially the cinematic image made in South Korea, highlights the anonymity, deeply hidden excrescences of modern societies. It becomes a neon blur, folds of traffic and dislocated bodies thickly weaving into one another until a story becomes a story, not anything more. Nothing reflective, just dislocated and detached from experience. Storytelling and entertainment. Performance and perception. The possibilities within cinema to evoke the riveting out of the ordinary, the potential of cinema by drawing camera focus, eking out sharp light on a street pressed, normalized by ordinary habits. The difficulties with which Korean film makers are presented with are obvious: the displacement and disappearance of the individual requires extremity to draw focus, masterful insight, acute reflection of character development and subtleties in motives. The consequences of this are several fold, but at least two stand out: the actors reveal a depth amidst city anonymity that is rarely seen, especially worn out by Western popular cinema, and the audience is revealed as extremely lurid, complicit, and concerned.
First of all, on the matter of the audience there is the obvious revelation: the spectators watch not always for the extremity or the voyeurism of this cinematic experience, but to find violence or depravity and understand it. Considering the closeness to violence is everyday life but as a distant and unexplained phenomenon, it is clear that as response to organized crime, the oversights of police and state mechanisms, bureaucracies, etc. the spectator, the critic, the curious, delve into a cinematic image that peels back the blurred exterior of urban anonymity and looks inside, desperately searching for an understanding of the violence that goes unexplained, without clarification.
It is with this Korean film The Chaser that these violent signs, these underlying motivations and tensions begin to reveal themselves not simply as words and elucidations which do no exhibit the feelings of the event, but as time image and acting as an opening to near experience. The complex relationship of victim to crime, the actual mirroring of tensions inside the police system by demonstrating time lapse, inefficiency, bringing the viewer far closer to the passing of time itself is exactly the kind of communication being sought. And it seems very bold to say but cinema is not an expression of form itself, for that seems to be besides what is being sought, but rather form in time. An entering into time, regardless of place or situation, or form itself. Using any form whatsoever, so long as there is an entrance in fascination, into violence or relief, it is rather an entering into our understanding of time. It is the form of time that cinema tries to exhibit, a weaving of balance and intensities. And though I have said little about the structure, plot, characterization of this film I have at least directed the reader towards it with this series of concepts to filter it with.
