This thesis brings into relation Thomas Elsaesser's category of the "mind-game film" and Gilles Deleuze's observations of a new depiction and awareness of time in film. The mind-game film
is then read as symptomatic of a social change from a society of "discipline" towards a "society of control" (Michel Foucault).
In the course of this analysis, the catalyst role of technical progress and pervasive interconnectedness becomes evident.
Traditional tenets of cinema and storytelling are overcome and played with. Time, which used to flow naturally, and therefore unnoticed, has evolved into a crucial, freely modulatable dimension of its own and serves as an additional structural and narrational level on top of the spatial dimensions. This development is propelled by the rise of the digital image and its manifold possibilities of interfering with the flow of time. Likewise, the principle of "focalization" is extended beyond the idea of merely directing our attention, towards the total filtration of the film reality through the (subjective) vision of a (or several) character(s) (Buckland 8). Thriving on these central elements, mind-game films aim to deceive the spectator by determining when, or if, he/she receives certain information which is crucial to the understanding of the story. Just as no focal character can possibly be sure of his/her own perception's reliability or, for that matter, his/her own mental sanity, we cannot trust our perception. What we see is the image of an image, filtered through a succession of
two minds, the character's virtual one and our own [...]
Table of Contents
- 1. Introduction
- 2. Sociological Implications and the Mode of Storytelling
- 2.1. Intensified Focalization
- 2.2. The Mind-Game Film as a Mirror to the Society (of Control)
- 2.3. Mind-Game Film in the Light of Traditional Narratology
- 3. Multiple Levels of Storytelling, Viewing Experience and Identity
- 4. A New Understanding of Time
- 4.1. Time as a Medium in which we Exist
- 4.2. The Central Role of Time in Mind-Game Film (Diegesis and Editing)
- 4.3. The Central Role of Time in Mind-Game Film (Reception and Media)
- 5. The Media in the Society of Control
Objectives and Key Themes
This work analyzes the "mind-game film" genre, exploring its unique narrative structures and their reflection of contemporary society. It examines how these films utilize digital technology to manipulate time and perception, challenging traditional cinematic conventions. The analysis draws upon the theories of Thomas Elsaesser and Gilles Deleuze to understand the genre's appeal and its significance within the context of a "society of control."
- The manipulation of time as a narrative device in mind-game films.
- The intensified focalization and its impact on the viewer's experience.
- The relationship between mind-game films and the concept of a "society of control."
- The challenge to traditional narratology posed by mind-game films.
- The role of the digital image in shaping the aesthetics and narrative possibilities of the genre.
Chapter Summaries
1. Introduction: This introductory chapter establishes the core argument that mind-game films defy traditional cinematic storytelling by manipulating time and focalization. It introduces the central concept of the "mind-game film," drawing upon the work of Thomas Elsaesser and Gilles Deleuze, and highlighting how the digital image has revolutionized the manipulation of time in film. The chapter argues that the genre's appeal stems from its reflection of a shifting societal landscape, mirroring the uncertainties and complexities of perception in a "society of control." The introduction sets the stage for a deeper exploration of the genre's unique narrative techniques and sociological implications.
2. Sociological Implications and the Mode of Storytelling: This chapter delves into the underlying principles of the mind-game film and examines its sociological context. It explores how the genre's unconventional narrative techniques, such as intensified focalization, challenge traditional notions of causality and linearity in storytelling. The chapter analyzes the way these films reflect the complexities of a society characterized by uncertainty and the blurring of lines between reality and perception. The discussion extends to the implications of the intensified focalization on the viewer's experience. It argues that the lack of a clear objective viewpoint mirrors the disorientation and lack of certainty that characterizes modern life.
3. Multiple Levels of Storytelling, Viewing Experience and Identity: [Summary to be added based on provided text - Insufficient information in provided text]
4. A New Understanding of Time: This chapter examines the innovative use of time as a narrative element in mind-game films. It delves into how the manipulation of time, both within the diegesis and in terms of audience reception, contributes to the films' unique narrative structure and impact on viewers. The chapter argues that time itself is elevated to a crucial structural element, no longer simply a passive backdrop but an active participant in shaping the story and viewer experience. Different aspects of the time manipulation are discussed from the perspective of diegesis and editing, as well as from the perspective of reception and media.
5. The Media in the Society of Control: [Summary to be added based on provided text - Insufficient information in provided text]
Keywords
Mind-game film, digital cinema, society of control, intensified focalization, narrative structure, time manipulation, perception, traditional narratology, Thomas Elsaesser, Gilles Deleuze.
Frequently Asked Questions: A Comprehensive Language Preview of Mind-Game Films
What is the main topic of this document?
This document provides a comprehensive preview of a work analyzing the "mind-game film" genre. It explores the genre's unique narrative structures, its reflection of contemporary society, and its manipulation of time and perception through digital technology. The analysis draws upon theories of Thomas Elsaesser and Gilles Deleuze.
What are the key themes explored in the analysis of mind-game films?
Key themes include the manipulation of time as a narrative device, intensified focalization and its impact on the viewer, the relationship between mind-game films and the concept of a "society of control," the challenge to traditional narratology, and the role of the digital image in shaping the genre's aesthetics and narrative possibilities.
What is the structure of the main work previewed in this document?
The structure includes an introduction, chapters on the sociological implications and storytelling modes, multiple levels of storytelling and viewing experience, a new understanding of time, and the media within a "society of control." Each chapter offers a summary, outlining the key arguments and analyses presented.
Which theoretical frameworks are used in the analysis?
The analysis draws heavily on the theories of Thomas Elsaesser and Gilles Deleuze to understand the genre's appeal and significance within the context of a "society of control."
What are some of the key concepts discussed in the analysis?
Key concepts include intensified focalization, manipulation of time (both diegetically and in terms of audience reception), the "society of control," traditional narratology, and the role of the digital image in shaping cinematic narratives.
What is the chapter on "Sociological Implications and the Mode of Storytelling" about?
This chapter examines the sociological context of mind-game films, exploring how unconventional narrative techniques like intensified focalization challenge traditional storytelling. It analyzes how these films reflect the complexities of a society marked by uncertainty and blurred lines between reality and perception, focusing on the impact of intensified focalization on the viewer's experience.
What does the chapter on "A New Understanding of Time" cover?
This chapter focuses on the innovative use of time as a narrative element. It analyzes how the manipulation of time, within the film's diegesis and in terms of audience reception, shapes the narrative structure and viewer experience. Time is presented not as a passive backdrop, but as an active participant in shaping the story.
What are the chapter summaries intended to provide?
The chapter summaries offer concise overviews of the main arguments and analyses presented in each chapter of the main work. They highlight the key themes and findings of each section.
What are the keywords associated with this analysis?
Keywords include mind-game film, digital cinema, society of control, intensified focalization, narrative structure, time manipulation, perception, traditional narratology, Thomas Elsaesser, and Gilles Deleuze.
What is the intended audience for this preview?
This preview is intended for academic use, supporting the analysis of themes in a structured and professional manner.
- Quote paper
- Malte Mindermann (Author), 2014, The Mind-Game Film. Cinema in the Digitalized Societies of Control, Munich, GRIN Verlag, https://www.grin.com/document/285535
