Abstract
This article is about the cinematic presentation of time, arguing that contemporary cinema increasingly draws on musical structures to organize images. Drawing on a Deleuzian conception of time in cinema, I propose and develop the idea of a morph-image. In the case of Spring Breakers, this musical structure is that of electronic dance music, that intensifies and amplifies experience through two primary temporal forms: looping and pleating. Time repeats and returns, brushing against itself. In so doing, Spring Breakers’ musical form expresses the tension between a closed or open future, what Nina Power has called the “weaponization of time.”
Originalsprog | Engelsk |
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Tidsskrift | Interfaces — Image — Texte — Language |
Udgave nummer | 48 |
ISSN | 2647-6754 |
DOI | |
Status | Udgivet - 2023 |