{"id":{"repo_id":"massey","oai_identifier":"oai:mro.massey.ac.nz:10179/12203"},"canonical_url":"https://search.dev.ndltd.org/etd/massey/oai:mro.massey.ac.nz:10179/12203","repository":{"repo_id":"massey","name":"Massey University","base_url":"https://mro.massey.ac.nz/server/oai/request"},"display":{"title":"A study of the hyper-lapse system","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","abstract_html":"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","abstract_has_math":false,"creators":["Chan, Mark"],"institution":null,"degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2017,"date_issued":"2017","date_published":"2017","updated_at":"2026-07-27T20:17:56Z","subjects":["Chronophotography","Cinematography"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["hdl:10179/12203"],"render_values":[{"text":"hdl:10179/12203","href":null,"code":true}]}]},"links":{"outbound_url":null,"outbound_label":null,"outbound_source":null},"metadata_groups":[{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.issued","label":"Date","values":["2017"]},{"key":"dc:type","label":"Dc Type","values":["Thesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Chronophotography","Cinematography"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["hdl:10179/12203"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.other","label":"Dc Description Other","values":["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"]},{"key":"dc:title","label":"Title","values":["A study of the hyper-lapse system"]}]}],"canonical_facts":{"dc:date.issued":["2017"],"dc:description.other":["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"],"dc:identifier":["hdl:10179/12203"],"dc:subject":["Chronophotography","Cinematography"],"dc:title":["A study of the hyper-lapse system"],"dc:type":["Thesis"]},"updated_at":"2026-07-27T20:17:56Z"}