Elipsa temporală – între ideologie și auto-reflecție
Rezumat
Temporal Ellipsis – Between Ideology and Self-Reflection
Abstract: This article explores the multifaceted relationship between cinema and time, examining how film both reflects and constructs temporal experience. Drawing on theoretical frameworks from Gilles Deleuze, Andrei Tarkovsky, and others, it distinguishes between operational time (linked to narrative chronology and ideology) and non-operational time (characterized by subjectivity, elision, and perception). Early cinema’s reliance on linear storytelling and montage served ideological ends, compressing time into a coherent sequence of events. In contrast, modern and post-war auteurs—such as Antonioni, Tati, Ozu, and Dumont—use time as a medium of introspection and existential presence, where duration, elision, and character perception redefine narrative flow. The article argues that cinema’s unique power lies in its capacity to render time palpable—through rhythm, framing, and absence—and to reveal truth not through representation, but through the lived temporality of characters and spectators alike. Ultimately, it questions how different cinematic approaches to time either serve ideology or liberate the viewer into reflection, positioning the image not merely as movement, but as thought.
Bibliografie
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