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Chapter 7. Beyond the limits

Merging past and present in film flashbacks
  • Adriana Gordejuela
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Time Representations in the Perspective of Human Creativity
Ein Kapitel aus dem Buch Time Representations in the Perspective of Human Creativity

Abstract

Film flashbacks are rich multimodal devices that combine a stable pattern of retrospection with formal versatility that provides filmmakers with much space for being creative (Turim 1989; Gordejuela 2021). This chapter focuses on a particular kind of flashbacks where past and present are rendered simultaneously in two possible ways: either the past gets inserted into the present and is merged with it, or a character from the present appears as such in his or her own memories of the past. Through decompression of identity, these flashbacks simultaneously represent two different perspectives (viewpoint compression) and two separate moments in time (time compression) (cf. Dancygier 2012). The chapter illustrates the creative rendering of narrative time in a number of unconventional flashbacks.

Abstract

Film flashbacks are rich multimodal devices that combine a stable pattern of retrospection with formal versatility that provides filmmakers with much space for being creative (Turim 1989; Gordejuela 2021). This chapter focuses on a particular kind of flashbacks where past and present are rendered simultaneously in two possible ways: either the past gets inserted into the present and is merged with it, or a character from the present appears as such in his or her own memories of the past. Through decompression of identity, these flashbacks simultaneously represent two different perspectives (viewpoint compression) and two separate moments in time (time compression) (cf. Dancygier 2012). The chapter illustrates the creative rendering of narrative time in a number of unconventional flashbacks.

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Preface vii
  4. Introduction 1
  5. Part I. Time and creativity in language
  6. Chapter 1. A corpus-based look at time metaphors 15
  7. Chapter 2. Time moves more often in poetry 41
  8. Chapter 3. What is time? 61
  9. Chapter 4. Working on it 81
  10. Part II. Beyond language
  11. Chapter 5. Creative visual metaphors of protracted and frozen time in autobiographical comics about depression 101
  12. Chapter 6. Time-creation in film 125
  13. Chapter 7. Beyond the limits 147
  14. Chapter 8. From “slow lettuce” to “striated time” 163
  15. Chapter 9. Physical and imaginary landmarks in English time gestures 187
  16. Chapter 10. Time in Chinese hands 209
  17. Epilogue. Creative to whom, and on what basis? 233
  18. Index 243
https://doi.org/10.1075/hcp.75.07gor

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Preface vii
  4. Introduction 1
  5. Part I. Time and creativity in language
  6. Chapter 1. A corpus-based look at time metaphors 15
  7. Chapter 2. Time moves more often in poetry 41
  8. Chapter 3. What is time? 61
  9. Chapter 4. Working on it 81
  10. Part II. Beyond language
  11. Chapter 5. Creative visual metaphors of protracted and frozen time in autobiographical comics about depression 101
  12. Chapter 6. Time-creation in film 125
  13. Chapter 7. Beyond the limits 147
  14. Chapter 8. From “slow lettuce” to “striated time” 163
  15. Chapter 9. Physical and imaginary landmarks in English time gestures 187
  16. Chapter 10. Time in Chinese hands 209
  17. Epilogue. Creative to whom, and on what basis? 233
  18. Index 243
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Heruntergeladen am 30.10.2025 von https://www.degruyterbrill.com/document/doi/10.1075/hcp.75.07gor/html
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