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Doing Time addresses two areas of interest in recent film study—film temporality and film philosophy—to propose an innovative theorization of cinematic time that sees it as a dynamic process of engagement, or something we do as viewers. This active relation to cinematic time, which discloses a film's temporal character, is called its "timeliness." Here it is traced across a range of fascinating case studies from Hollywood and the global art cinema, uncovering each film's characteristic way of "doing time." Throughout, the ambiguities of filmic time are held as powerful attractions as they modulate film viewing: such pauses, gaps, repetitions, and stretches of time illuminate a living field that extends from viewing activity.Drawing on the writings of French film critic and theorist André Bazin, as well as the phenomenology of Martin Heidegger and Maurice Merleau-Ponty, Lee Carruthers forwards a claim about the value of cinematic time for thinking. She also raises the tasks of film analysis and interpretation to renewed visibility. By prioritizing the viewer's experience of filmic temporality, and offering a rich vocabulary for describing this exchange, Carruthers articulates a new sphere of theoretical inquiry that invites film viewers (and readers) to participate.

Time in motion pictures. --- Motion pictures

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L'auteur interroge le rapport au temps en confrontant l'immobilité de la matière et sa mise en mouvement par le cinéma animé. Il analyse la façon dont dessin et peinture perdent leur matérialité dès lors qu'ils s'inscrivent dans un flux d'images mouvantes ainsi que la création d'une dynamique où immobilité et mouvement s'entremêlent. Il examine l'impact des outils informatiques sur l'animation. ©Electre 2020 Il s'agit d'interroger notre rapport au temps. Cette réflexion s'engage par une confrontation entre l'immobilité de la matière et son activation par le cinéma d'animation. Dessin, peinture, volume ont quitté leur matérialité pour s'incarner dans le flux lumineux des images mouvantes. Mais voilà qu'à son tour, le mouvement de ces images agit sur la pratique. Mouvement et immobilité évoluent dans une telle proximité qu'il devient difficile de savoir lequel est à l'origine de l'autre.Lenteur extrême de réalisation et vitesse fulgurante du défilement des images à la projection, discontinuité du dessin oeuvrant pour l'illusion de continuité du film, c'est de ce paradoxe que naît la singularité de l'animation. Raisonnant en 25° de seconde c'est avec une véritable distorsion des échelles de temps qu'on est amené à travailler et vite, à négocier.

Animated films --- Time in motion pictures

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Time in motion pictures --- Temps au cinéma --- Visconti, Luchino,

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Motion pictures --- Narration (Rhetoric) --- Space and time in motion pictures. --- Philosophy --- History

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Sue Thornham explores issues of space, place, time and gender in feminist filmmaking through an examination of a wide range of films by contemporary women filmmakers, ranging from the avant-garde to mainstream Hollywood. Beginning from questions about space itself and the way it has been gendered, she asks how representation functions in relation to space and time, and how this, too, is gendered, before moving to an exploration of how such questions might be considered in relation to women's filmmaking. In sections dealing with spaces from wilderness to city, she analyses in detail how these issues have been dealt with by women filmmakers, addressing the work of filmmakers such as Jane Campion, Kathryn Bigelow, Julie Dash, Maggie Greenwald, Patricia Rozema and Carol Morley, and films including 'An Angel at My Table' (1990), 'Daughters of the Dust' (1991) 'The Ballad of Little Jo' (1993), 'Winter's Bone' (2010), 'Zero Dark Thirty' (2012) and 'The Falling' (2014)

Space and time in motion pictures. --- Women in motion pictures. --- Women motion picture producers and directors.