Date: 30. 11. -1.
Type: Article, Essay
Subject: Consciousness – Dream – Film
Metropolis - 2012 / 2 - Consciousness – Dream – Film
Realities of appearances
Narration and subjectivity in Time Crimes
Tamás Csönge, while examining the Spanish director Nacho Vigalondo’s first feature film, Time Crimes (Los Cronocrímenes, 2007) in the context of time travel movies and complex story-telling, points to the unusual, indirect ways which the movie employs to depict the human self and the nature of subjectivity. In his interpretation Csönge argues that the complex narrative of the film is displaying a non-traditional self-conception not by directly showing or expressing the hero’s inner life in the course of the progression of the story but through the system of intertextual references and the structure of the movie.
According to the author, beside the Hitchcockian themes (voyeurism, sexual perversions, identity troubles, deception, clash of appearances and reality) the movie invokes a strong parallel with the classic horrorfilm The Invisible Man (1933) as well in the terms of visual codes and thematic aspects which emphasises a richer way of narrative comprehension in addition to the analytical tracking of the story.
The situational dynamics of Time Crimes points to the correlative nature of the subject / object distinction and therefore the so called ‘reflexive-self’ is unfolding through the questions of causality, free will, ethics and the metaphor of the time paradox. In the focus of this antimetaphysical perception of subjectivity stands the lack of a stable, central substance and the reflexively established coherence of the identity.
The article highlights the ®i¾ekian argument that we need a minimal distance, a screen through which we can observe this surface-phenomenon called ‘self’ to see how it is articulated by the contrasting forces of the linear temporality of the story (the told) and the anti-logic of the discourse (the telling).