Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012)
This article is about the cinematic presentation of time, arguing that contemporary cinema increasingly draws on musical structures to organize images. Drawing on a Deleuzian conception of time in cinema, I propose and develop the idea of a morph-image. In the case of Spring Breakers, this musical s...
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| Language: | English |
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Université de Bourgogne
2022-12-01
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| Series: | Interfaces |
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| Online Access: | https://journals.openedition.org/interfaces/5792 |
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| author | Steen Ledet Christiansen |
| author_facet | Steen Ledet Christiansen |
| author_sort | Steen Ledet Christiansen |
| collection | DOAJ |
| description | This article is about the cinematic presentation of time, arguing that contemporary cinema increasingly draws on musical structures to organize images. Drawing on a Deleuzian conception of time in cinema, I propose and develop the idea of a morph-image. In the case of Spring Breakers, this musical structure is that of electronic dance music, that intensifies and amplifies experience through two primary temporal forms: looping and pleating. Time repeats and returns, brushing against itself. In so doing, Spring Breakers’ musical form expresses the tension between a closed or open future, what Nina Power has called the “weaponization of time.” |
| format | Article |
| id | doaj-art-6a8637ca0d3842ca8697fa914a342d06 |
| institution | OA Journals |
| issn | 2647-6754 |
| language | English |
| publishDate | 2022-12-01 |
| publisher | Université de Bourgogne |
| record_format | Article |
| series | Interfaces |
| spelling | doaj-art-6a8637ca0d3842ca8697fa914a342d062025-08-20T02:26:26ZengUniversité de BourgogneInterfaces2647-67542022-12-014810.4000/interfaces.5792Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012)Steen Ledet ChristiansenThis article is about the cinematic presentation of time, arguing that contemporary cinema increasingly draws on musical structures to organize images. Drawing on a Deleuzian conception of time in cinema, I propose and develop the idea of a morph-image. In the case of Spring Breakers, this musical structure is that of electronic dance music, that intensifies and amplifies experience through two primary temporal forms: looping and pleating. Time repeats and returns, brushing against itself. In so doing, Spring Breakers’ musical form expresses the tension between a closed or open future, what Nina Power has called the “weaponization of time.”https://journals.openedition.org/interfaces/5792dubstepfutureloopingmorphingpleatingpost-cinema |
| spellingShingle | Steen Ledet Christiansen Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012) Interfaces dubstep future looping morphing pleating post-cinema |
| title | Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012) |
| title_full | Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012) |
| title_fullStr | Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012) |
| title_full_unstemmed | Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012) |
| title_short | Temporal Looping and Pleating in Spring Breakers (Harmony Korine, 2012) |
| title_sort | temporal looping and pleating in spring breakers harmony korine 2012 |
| topic | dubstep future looping morphing pleating post-cinema |
| url | https://journals.openedition.org/interfaces/5792 |
| work_keys_str_mv | AT steenledetchristiansen temporalloopingandpleatinginspringbreakersharmonykorine2012 |