Cinematic Chronotopes

Pepita Hesselberth’s Cinematic Chronotopes contributes to the contemporary debate about the survival and role of cinema in the era of digital media. -- Ruggero Eugeni, Universita` Cattolica del Sacro Cuore, Milan, Italy * New Review of Film and Television Studies *
The question of cinematic time has become one of the key issues in contemporary film studies, and Cinematic Chronotopes tackles this issue in an original way, navigating between the idea that time has been eviscerated and the Deleuzean position that cinema immerses us in the time-image. This is a work full of great insights and edifying film analyses. -- Todd McGowan, Associate Professor, The University of Vermont, USA, and author of The Real Gaze: Film Theory After Lacan
Cinema and video art experiments with space, time and agency, warping and multiplying them outside of their linguistic indices by embodying them as affective encounters. Cinematic Chronotopes analyses these encounters across a range of sites, from Andy Warhol to Rafael Lozano-Hemmer, from Lars Von Trier's The Idiots to Duncan Jones' Source Code: in every case it offers us fundamental insights into the power of the moving image to relocate the viewer and itself within a living, mutating space-time. -- John Ó Maoilearca, Professor of Film and Television Studies, Kingston University, London, UK
Cinematic Chronotopes is an ambitious work that connects our contemporary multimediated lives with the potential of the 'cinematic'. At once sensitive to the accomplishment of film theory and the need for more nuanced discussions of new image experiences, Hesselberth offers a valuable model for re-engaging the cinematic self in the post-cinematic age -- Bruce Isaacs, Lecturer in Film Studies, The University of Sydney, Australia
Pepita Hesselberth's Cinematic Chronotopes disassembles two decades of film culture: in the gallery, in the European art cinema, in projections into public space and in recent Hollywood. Taking on and rewriting influential accounts of the time-image, phenomenological, historical and formal film criticism, she gives a new account of the moving image as art of time, and of subjectivity as process engendered in the cinematic encounter that is as profound as it is innovative. -- Sean Cubitt, Professor of Film and Television, Goldsmiths, University of London, UK