The Rhythm of the Void: On the rhythm of any-space-whatever in Bresson, Tarkovsky and Winterbottom
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2016-09-30
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en
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This thesis explores the specific rhythmic dimensions of Gilles Deleuze’s concept of any-space-whatever, how those rhythmic dimensions function and what consequences they have for the concept of any-space-whatever. Chapter 1 comprises a critical assessment of the autonomous cinematic space discourse and describes how the conceptions of the main contributors to this discourse (Balázs, Burch, Chatman, Perez, Vermeulen and Rustad) differ from each other and Deleuze’s concept. Chapter 2 comprises a delineation of cinematic rhythm and its most important characteristics. Chapters 3, 4 and 5 comprise case study analyses of Robert Bresson’s Lancelot du Lac, Andrei Tarkovsky’s Nostalghia and Michael Winterbottom’s The Face of an Angel, in which I coin four new additions to the concept of any-space-whatever: the ‘any-space-whatever without borders’, ‘any-face-whatever’, ‘any-body-whatever’ and the ‘any-space-whatever-anomaly’. Any-space-whatever can be deemed as such precisely because of its particular rhythm. Any-space-whatever is cinematic rhythm in one of its purest forms.
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