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Mapping Film-World Relations to Reality : A New Conceptual Cartography

Mendelyte, Atene LU (2016) The Real of Reality
Abstract
In order to distinguish various film-worlds among themselves and from our intersubjective, shared reality I propose to introduce two parameters: warpedness and enfoldednes. The various ratios between these two parameters serve to create what I call »the film-world map«. The time-imageʼs embeddedness within the temporal dimension is what I mean by strong enfoldedness. A world that is enfolded is a layer hidden within the intersubjective world and has to do with the manifestation of the virtual aspects of the corresponding reality, its intensity. Warpedness, on the contrary, is related to extensity, the actual and the material reality. A world that is strongly warped is an alternative world such as many fantasy or science fiction... (More)
In order to distinguish various film-worlds among themselves and from our intersubjective, shared reality I propose to introduce two parameters: warpedness and enfoldednes. The various ratios between these two parameters serve to create what I call »the film-world map«. The time-imageʼs embeddedness within the temporal dimension is what I mean by strong enfoldedness. A world that is enfolded is a layer hidden within the intersubjective world and has to do with the manifestation of the virtual aspects of the corresponding reality, its intensity. Warpedness, on the contrary, is related to extensity, the actual and the material reality. A world that is strongly warped is an alternative world such as many fantasy or science fiction film-worlds. These parameters and their ratios can vary; worlds can be enfolded and warped to varying degrees. In my talk I shall discuss my mapping out of the possible manifestations of the various types of (post-)Deleuzian images and explain their film-world cartography. For instance, the neuro-image shares its territory with all the other types of images, which means that its world-making is the most flexible. The movement-image and the time-image are shown to be the opposites because they do not have any territories in common. The reason is that the time-image is an inverted movement-image since in the former movement is subjugated to time and in the later the opposite is the case; movement is linked to extensity, whereas temporal complexity is linked to intensity, which unavoidably leads to very different warpedness-enfoldedness ratios. (Less)
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author
organization
publishing date
type
Contribution to conference
publication status
published
subject
keywords
film-philosophy, film theory, Gilles Deleuze, film and reality
conference name
The Real of Reality
language
English
LU publication?
yes
id
8086d76b-aa5a-4620-9390-293b07294f36
alternative location
http://zkm.de/atene-mendelyte
date added to LUP
2016-09-13 19:29:20
date last changed
2016-09-14 11:25:21
@misc{8086d76b-aa5a-4620-9390-293b07294f36,
  abstract     = {In order to distinguish various film-worlds among themselves and from our intersubjective, shared reality I propose to introduce two parameters: warpedness and enfoldednes. The various ratios between these two parameters serve to create what I call »the film-world map«. The time-imageʼs embeddedness within the temporal dimension is what I mean by strong enfoldedness. A world that is enfolded is a layer hidden within the intersubjective world and has to do with the manifestation of the virtual aspects of the corresponding reality, its intensity. Warpedness, on the contrary, is related to extensity, the actual and the material reality. A world that is strongly warped is an alternative world such as many fantasy or science fiction film-worlds. These parameters and their ratios can vary; worlds can be enfolded and warped to varying degrees. In my talk I shall discuss my mapping out of the possible manifestations of the various types of (post-)Deleuzian images and explain their film-world cartography. For instance, the neuro-image shares its territory with all the other types of images, which means that its world-making is the most flexible. The movement-image and the time-image are shown to be the opposites because they do not have any territories in common. The reason is that the time-image is an inverted movement-image since in the former movement is subjugated to time and in the later the opposite is the case; movement is linked to extensity, whereas temporal complexity is linked to intensity, which unavoidably leads to very different warpedness-enfoldedness ratios.},
  author       = {Mendelyte, Atene},
  keyword      = {film-philosophy,film theory,Gilles Deleuze,film and reality},
  language     = {eng},
  month        = {11},
  title        = {Mapping Film-World Relations to Reality : A New Conceptual Cartography},
  year         = {2016},
}