Framed Time
Toward a Postfilmic Cinema

- Contents
- Review Quotes

Forewords
Acknowledgments
Introduction: On Optical Allusion
1 Lexeme to Pixel: An Experiment in Narratography
The Golden Bowl The House of Mirth Citizen Kane
2 Trick Beginnings and the European Uncanny
Memento Insomnia Run Lola Run Three Colors: Blue Three Colors: Red The Double Life of Véronique The Red Squirrel Lovers of the Arctic Circle Time Regained Simon the Magician Heaven Swimming Pool
3 Out of Body in Hollywood
The Matrix Dark City The Manchurian Candidate Abre Los Ojos Vanilla Sky A.I. Artificial Intelligence The Sixth Sense The Others Jacob’s Ladder Adaptation Identity One Hour Photo
4 Temportation
Paris Qui Dort Johnny Mnemonic Frequency He Loves Me, He Loves Me Not Donnie Darko The Thirteenth Floor Eternal Sunshine of the Spotless Mind The Butterfly Effect 2001: A Space Odyssey Being John Malkovich
5 VR from Cimnemonics to Digitime
The Forgotten City of Lost Children Bad Education The Final Cut Caché Syriana
6 Media Archaeology, Hermeneutics, Narratography
Minority Report The Lake House Happy Accidents Brokeback Mountain The Jacket Irreversible
Appendix: Precinematics; or, Reading the Narratogram
Notes
Terms
Index
“Garrett Stewart’s unique sensibility—which combines textual perception with a vigilant receptivity for variations in technology—here affords us rich insights into the ‘time image’ and in particular into the relationship between plot-formation and the digital. This is wonderful reading and thinking!”
“In this remarkable book, Garrett Stewart demonstrates convincingly that the encounter between the cinematic and the digital has produced a body of films that are emblematic of hybridity, confused temporality, and diminished narrative coherence and control. Stewart’s innovative and imaginative concept of ‘narratography’ draws attention to those points at which both narrative and technological uncertainty erupt symptomatically into image and idea on the screen.”
“Imagining a retrospective glance from deeper into our new millennium, future scholars of the moving image may come to recognize Garrett Stewart’s Framed Time as provoking a decisive turning point. The object of theory no longer appears between film and screen, but rather between frame and pixel. In this exciting book, Stewart brilliantly pictures the transition where film has disappeared from American and European screens, while cinema has become something else—the expression of digitime as a new consciousness in and of images. The wild variety of how cinema imagines its new virtual life in the Silicon Era is vividly on display in this path-breaking book.”
“In Framed Time Garrett Stewart applies a narratographic method to map the as yet incomplete transition from a filmic cinema timed by the moving frame to a digital cinema that ‘frames time in its change,’ from imprinted track to transformative array. In startling engagements with individual films Stewart analyzes the various means by which contemporary film narrates its own slow dying and figures what it may become. Audacious and convincing, Framed Time is exhilarating criticism.”
Literature and Literary Criticism: General Criticism and Critical Theory
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