The invisible in the cinematographic plane: traces of Benjamin and Bergson
DOI:
https://doi.org/10.19132/1807-8583201635.27-40Keywords:
Cinema. Film plane. Eclipse of Visuality. Traces. Memory.Abstract
In this article we explore forms of presence and absence in the framings and perception of the spectator based on scenes and frames from the film The Eclipse (1962) by Michelangelo Antonioni. We find in the director’s intention in realizing this film what we call the “eclipse of visuality,” that is, traces between the visible and the invisible in the montage of the cinematographic planes. The intrinsic time of the montage causes the frames to return in another manner, relate to other frames and above all, to leave traces in the landscape of images and sounds in movement. In this discussion about traces of the invisible and the memory of the visible, we deepen the specular concepts of traces and aura in Benjamin and contrast them with the concepts of time and memory in Bergson.Downloads
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