/lit/ - Literature

>>11239544
>>11238972
>>11239362
The pacing of the intercutting between the narratives of Intolerance grows increasingly rapid over the course of the film, and the dual race scenes in the final hour of the film, the physical and cinematic metaphors for the infinitessimally divisible intervals of time are iterated in a suspenseful fictionalization of the experience of Zeno's arrow paradox. The shots themselves become shorter and shorter, demonstrating how experienced time, the "accelerated variable present," is inherently interval-oriented, described in its form as between points or actions. Thus, the race scenes demonstrate in their parallel spatialized approaches to a goal moment, a finish, a hopeful fateful encounter, the movement nature of time. The intercutting between the two stories and the tension that it builds makes it seem, from the temporal perspective of the viewer, that even though the time is decreasing in interval, it is increasing or unchanging in its arrival at the point of stasis. The viewer's experience of time is controlled and distorted by the cinematic feature of montage, which has in this way organicized and made felt the unlocateable, tanscendent quality of experienced time as interval. This is, of course, cinema's unique effect of suspense. Incidentally, in both stories, the finish of the races are the hopeful resolutions of conflicts that are to result in the salvage of life itself, of the prolonging of existence and of its inherent continued experience of, on the one hand, the husband's individual time and on the other, Babylon's shared cultural time. They are races against the end of time, races to delay what is experientially inconceiveable but historically inevitable.

>>11208745
The pacing of the intercutting between the narratives of Intolerance grows increasingly rapid over the course of the film, and the dual race scenes in the final hour of the film, the physical and cinematic metaphors for the infinitessimally divisible intervals of time are iterated in a suspenseful fictionalization of the experience of Zeno's arrow paradox. The shots themselves become shorter and shorter, demonstrating how experienced time, the "accelerated variable present," is inherently interval-oriented, described in its form as between points or actions. Thus, the race scenes demonstrate in their parallel spatialized approaches to a goal moment, a finish, a hopeful fateful encounter, the movement nature of time. The intercutting between the two stories and the tension that it builds makes it seem, from the temporal perspective of the viewer, that even though the time is decreasing in interval, it is increasing or unchanging in its arrival at the point of stasis. The viewer's experience of time is controlled and distorted by the cinematic feature of montage, which has in this way organicized and made felt the unlocateable, tanscendent quality of experienced time as interval. This is, of course, cinema's unique effect of suspense. Incidentally, in both stories, the finish of the races are the hopeful resolutions of conflicts that are to result in the salvage of life itself, of the prolonging of existence and of its inherent continued experience of, on the one hand, the husband's individual time and on the other, Babylon's shared cultural time. They are races against the end of time, races to delay what is experientially inconceiveable but historically inevitable.

>>11196789
The pacing of the intercutting between the narratives of Intolerance grows increasingly rapid over the course of the film, and the dual race scenes in the final hour of the film, the physical and cinematic metaphors for the infinitessimally divisible intervals of time are iterated in a suspenseful fictionalization of the experience of Zeno's arrow paradox. The shots themselves become shorter and shorter, demonstrating how experienced time, the "accelerated variable present," is inherently interval-oriented, described in its form as between points or actions. Thus, the race scenes demonstrate in their parallel spatialized approaches to a goal moment, a finish, a hopeful fateful encounter, the movement nature of time. The intercutting between the two stories and the tension that it builds makes it seem, from the temporal perspective of the viewer, that even though the time is decreasing in interval, it is increasing or unchanging in its arrival at the point of stasis. The viewer's experience of time is controlled and distorted by the cinematic feature of montage, which has in this way organicized and made felt the unlocateable, tanscendent quality of experienced time as interval. This is, of course, cinema's unique effect of suspense. Incidentally, in both stories, the finish of the races are the hopeful resolutions of conflicts that are to result in the salvage of life itself, of the prolonging of existence and of its inherent continued experience of, on the one hand, the husband's individual time and on the other, Babylon's shared cultural time. They are races against the end of time, races to delay what is experientially inconceiveable but historically inevitable.