The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）,...The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.展开更多
The Second China Sculpture Art Festival, held in Hui'an of Fujian province from Aug. 22 through Sept. 1, 2002, focused on the theme of """""""""""""...The Second China Sculpture Art Festival, held in Hui'an of Fujian province from Aug. 22 through Sept. 1, 2002, focused on the theme of """"""""""""""""traditional art and modern experimentation"""""""""""""""" to help bridge the vast differences between China's past and present artistic expressions.展开更多
文摘The purpose of this paper is to engage with Gilles Deleuze＇s work on time and space in cinema as a theoretical trajectory for exploring the video art of Lia Lapithi Shukuroglou. In Cinema 2： The Time-Image （1989）, Deleuze argues that post-Second World War cinema has been shaped by a historical transformation compelling it to create new signs and images. Centering on the post-war landscape of Cyprus in 1974, the moment of ＂historical transformation＂ in Deleuze is transposed to this national context; examining Lapithi＇s response to the crisis of historical time in its relation to physical spaces. It negotiates a contextualized reading of three videos and argues that they manifest Deleuzian ＂time-images＂. These texts react to the territorialization of real spaces by deterritorializing official national history. Using Martin Jones＇ study, Deleuze, cinema and national identity： Narrative time in national contexts （2006） Lapithi＇s time-images are interpreted as ＂unruly＂ as they resist a linear narrative and destabilize public time. Contrary to Martin Jones＇s view that time-images constitute a temporary deviation from flowing national time, the author argues that Lapithi excavates alternative temporalities in perpetuity; whilst proposing that in the context of Cyprus the deterritorialization of space by time postpones the nation＇s identity.
文摘The Second China Sculpture Art Festival, held in Hui'an of Fujian province from Aug. 22 through Sept. 1, 2002, focused on the theme of """"""""""""""""traditional art and modern experimentation"""""""""""""""" to help bridge the vast differences between China's past and present artistic expressions.
