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Projection of multiple fantasies : de-subjectivity of images in long day’s journey into night

2022-05Journal article Open access
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dc.contributor.authorYang, Yu
dc.date.accessioned2022-11-15T15:23:01Z
dc.date.available2022-11-15T15:23:01Z
dc.date.issued2022-05
dc.description.abstractGilles Deleuze demonstrated the key role of flashback in dealing with the relationship between actual image and recollection-image when interpreting the temporality of images. He established two criteria for judging whether a flashback implies a recollection-image by stating that: (1) it serves as some kind of prompt in the narrative to make the viewer perceive that the scene has entered a flashback; (2) it relies on fate or forking time. But Deleuze also mentioned that, if the context or condition disappears, the recollection-image represented by the flashback will lose its support, at which point, the pure recollection will also disappear. In this case, the actual image no longer forms a connection with the sensor-motor, but is suspended, which produces a fantasmatic effect. Bi Gan extends this suspension in his film “Long Day’s Journey into Night” by removing the character being referred to in the flashback, stripping it from figure and confining it in the voice-over. The film features an extreme use of several effects in the sensory-motor situations and the flashbacks, as described in Deleuze’s “Cinema 2: Time-Image,” namely recollection, dream, and falsification. Thus, the boundary between flashback and reality is completely broken. In addition, Bi Gan uses doppelgangers in the second part of the film to reconstruct the ambiguity of actual images and recollection-images in the first part, turning them into pure fantasies. This essay will analyze issues relating to the images and characters in “Long Day’s Journey into Night” and show how this film constitutes a typical case of recollection-images transformed into fantasies through the power of falsificationpt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.citationIn: The international journal of the image, Vol.13, nº1 (2022). - p. 63-79pt_PT
dc.identifier.doihttps://doi.org/10.18848/2154-8560/CGP/v13i01/63-79pt_PT
dc.identifier.issn2154-8560
dc.identifier.issn2154-8579
dc.identifier.urihttp://hdl.handle.net/10451/55137
dc.language.isoengpt_PT
dc.peerreviewedyespt_PT
dc.publisherThe Image Research Networkpt_PT
dc.relation.publisherversionhttp://doi.org/10.18848/2154-8560/CGPpt_PT
dc.subjectDeleuze, Gilles, 1925-1995pt_PT
dc.subjectGan, Bi, 1989-pt_PT
dc.subjectImagempt_PT
dc.subjectFilmept_PT
dc.subjectCinema - séc.21pt_PT
dc.subjectCrítica e interpretaçãopt_PT
dc.subjectEnsaios críticospt_PT
dc.titleProjection of multiple fantasies : de-subjectivity of images in long day’s journey into nightpt_PT
dc.typejournal article
dspace.entity.typePublication
oaire.citation.endPage79pt_PT
oaire.citation.issue1pt_PT
oaire.citation.startPage63pt_PT
oaire.citation.volume13pt_PT
person.familyNameYang
person.givenNameYu
person.identifier.ciencia-id2E1C-74CF-E8ED
person.identifier.orcid0000-0001-8107-0462
rcaap.rightsopenAccesspt_PT
rcaap.typearticlept_PT
relation.isAuthorOfPublication37ab227d-29c8-4674-9250-73502e54dfa5
relation.isAuthorOfPublication.latestForDiscovery37ab227d-29c8-4674-9250-73502e54dfa5

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