Abstract
This study seeks to explore how far a photographer can push the manipulation of time and space within the confines of a non-narrative film. Gilles Deleuze discusses the “images of time” and how time and montage together constitutes a “principle act of cinema”. Skakov defines montage as a “process in which reality is fragmented and then reorganized into a dialectical framework”. The hyper‐lapse is a montage in essence, one that does not break but bleeds visually from one shot to another. This study investigates how this uninterrupted visual can “bleed” across frames, time and memory.--From Research Goals
Author and committee
dc:creator, dc:contributor.*- Author
-
- Chan, Mark
Subjects
dc:subject × 2Identifiers
dc:identifier.*- Identifier
- hdl:10179/12203
- OAI identifier oai:identifier
- oai:mro.massey.ac.nz:10179/12203