The site of cinema is on the move. The extent to which
technologically mediated sounds and images continue to be
experienced as cinematic today is largely dependent on the
intensified sense of being 'here, ' 'now' and 'me' that they
convey. This intensification is fundamentally rooted in the
cinematic's potential to intensify our experience of time, to
convey time's thickening, of which the sense of place, and a sense
of self-presence are the correlatives. In this study, Pepita
Hesselberth traces this thickening of time across four different
spatio-temporal configurations of the cinematic: a multi-media
exhibition featuring the work of Andy Warhol (1928-1987); the
handheld aesthetics of European art-house films; a large-scale
media installation by Rafael Lozano-Hemmer; and the usage of the
trope of the flash-forward in mainstream Hollywood cinema. Only by
juxtaposing these cases by looking at what they have in common,
this study argues, can we grasp the complexity of the changes that
the cinematic is currently undergoing
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