Narrative Space

Heath, Stephen

doi:10.1007/978-1-349-16579-7_2

Cited by 36 publications

(15 citation statements)

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“…In doing this they centre and re-centre the human body for our view, thus presenting us with a mirroring sense of our own bodily centrality and coherence. 60 It is this American system which has defined ways of representing character subjectivity in a 'universal', almost hegemonic sense in world cinema, and it is the absence of this which Kobita Sarkar appeared to regret in the commercial film. In fact, these codes are not absent, but they are unsystematically deployed and are often combined with the other modes of visual representation I have described.…”

Section: Modes Of Representationmentioning

confidence: 98%

Shifting codes, dissolving identities

Vasudevan

1996

Third Text

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Section: Modes Of Representationmentioning

confidence: 98%

Shifting codes, dissolving identities

Vasudevan

1996

Third Text

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“…To the purpose of this analysis, it is important to highlight how an emphasis on the haptic nature of the cinematographic experience challenged understandings of cinematic space as proposed, for instance, by Pascal Bonitzer (1985), Jean-Louis Comolli (1971-72) and Stephen Heath (1976), which, much in tune with the tradition of a semiotic and psychoanalytic-inspired film theory, saw the flat surface of the film screen as comparable to the illusory threedimensionality of painting (Bonitzer 1985). As Philip Rosen explains, theorists such as Comolli and Heath "made claims for the dominance of Renaissance perspective in image technology," connecting this persistence "to the appeal of a 'centred' subject-position, whose geometrical construction in perspective they understood through certain kinds of historical materialism and psychoanalysis" (Rosen 2001, 14).…”

Section: Cinema Painting Spacementioning

confidence: 99%

Space and Intermediality in Jia Zhang-ke’s Still Life

Mello

2014

Aniki

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This article is dedicated to an analysis of Chinese director Jia Zhang-ke’s film Still Life (San Xia Hao Ren 三峡好人, 2006) from the point of view of its intermedial relationship with Chinese landscape painting. As I will suggest, Jia’s discovery of a real landscape and a vanishing cityscape in this film, shot on location in the region of the Three Gorges of the Yangtze River, springs from a realist impulse and from an original aesthetic response to a new historical and social conjuncture. But while it seems firmly located in the landscape of contemporary China, the film also shares aesthetic qualities with the tradition of Chinese landscape painting, mounted on hanging or hand scrolls. A focus on this particular instance of intermediality leads to a reflection on cinema’s spatial organization in light of current revisions in film and audiovisual theory, which suggest that filmic space and its spectatorial experience should be considered above all from the point of view of touch and movement. It also allows for a broader understanding of the political implications of intermediality in Jia Zhang-ke’s oeuvre, fruit of an organic link between form and content that brings a historical resonance to a contemporary perspective.

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“…It is far from accidental, therefore, that the actuality footage in The City of the Future should be presented as a series of point‐of‐view shots, attributed to the perspective of the film's time‐travelling protagonist. This construction of a coherent sense of narrative space (Heath 1981), absent from the original animated photographs The City of the Future reworks, serves on a structural level to negate the film's radical intent.…”

Section: Robinson In Timementioning

confidence: 99%

The City of the Future revisited or, the lost world of Patrick Keiller

Clarke

2007

Trans Inst British Geog

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Focusing on Patrick Keiller's 2005 feature-length film, The City of the Future , this paper revisits the cinematic city. Keiller's film consists entirely of found footage, using intertitles to fashion a unified narrative from separate early actuality films. It involves a fictive journey around Britain, undertaken by an unseen narrator whom, we learn, has travelled back in time to avert an unspecified crisis. Deleterious consequences await Britain's future cities should his mission prove unsuccessful. This narrative device prompts the understanding that the projected crisis has now arrived. Yet by reproducing certain Romantic traits, Keiller risks reinforcing what he seeks to undermine. key words The City of the Future Patrick Keiller Romanticism film narrative spaceHistory decays into images, not stories. (Benjamin 1999, 462)

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Narrative Space

Cited by 36 publications

References 0 publications

Shifting codes, dissolving identities

Shifting codes, dissolving identities

Space and Intermediality in Jia Zhang-ke’s Still Life

The City of the Future revisited or, the lost world of Patrick Keiller

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