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Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism

Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism max tohline Introduction: Reverse Motion and and the power of art. By the century’s end, Temporal Plasticity reverse motion appeared periodically as an attraction in music videos and occasionally onscreen, workers jerked their pick s expressed subjective memory, nightmares, or unnaturally away from bits of stone that slid wishes in popular film and television. Along upward, miraculously fusing onto a flattened the way, scholars such as Ian Christie and Jean edifice. Meanwhile, a thickening cloud of dust Epstein celebrated the wonder of reverse mo- gathered toward the ground, and in an instant, tion, and others such as Gilles Deleuze and the fallen wall swung upright and seemed Mary Ann Doane theorized its transgressive to lock in place. Such was the sight in March temporality. But almost none remarked on its 1897 when the Lumières screened their film potential for humor. This is a curious fact, since Demolition of a Wall in reverse for the first the earliest audiences of reverse motion re- time. By running the projector backwards, they marked on little else. produced a credible image of time’s arrow dou- When the Lumière http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism

Journal of Film and Video , Volume 73 (4) – Dec 1, 2021

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Why Is Reverse Motion Funny? Happy End and the Comic Potential of the Cinematographic Mechanism max tohline Introduction: Reverse Motion and and the power of art. By the century’s end, Temporal Plasticity reverse motion appeared periodically as an attraction in music videos and occasionally onscreen, workers jerked their pick s expressed subjective memory, nightmares, or unnaturally away from bits of stone that slid wishes in popular film and television. Along upward, miraculously fusing onto a flattened the way, scholars such as Ian Christie and Jean edifice. Meanwhile, a thickening cloud of dust Epstein celebrated the wonder of reverse mo- gathered toward the ground, and in an instant, tion, and others such as Gilles Deleuze and the fallen wall swung upright and seemed Mary Ann Doane theorized its transgressive to lock in place. Such was the sight in March temporality. But almost none remarked on its 1897 when the Lumières screened their film potential for humor. This is a curious fact, since Demolition of a Wall in reverse for the first the earliest audiences of reverse motion re- time. By running the projector backwards, they marked on little else. produced a credible image of time’s arrow dou- When the Lumière

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Dec 1, 2021

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