Abstract
This chapter observes the implications of rhythmanalysis for examining Richard Linklater’s two features Waking Life (2001) and A Scanner Darkly (2006). Both films exploit Rotoshop’s modulating and ‘sliding’ effect (whereby live-action footage is overlaid with digital paint) to intensify their dreamlike narratives of fragmented identities. Yet Linklater’s use of Rotoshop equally serves to sharpen the complex interactions that constitute the rhythms of everyday life, accentuating in his unique visuals the cyclical and linear ritual forces that underwrite human activity. By identifying the rhythm of Waking Life and A Scanner Darkly – alongside the digital’s broader and vexed relationship to agency and liveliness, this chapter uses rhythmanalysis to examine the ‘rhythmed’ identity of Linklater’s work and the styles, performances and labor of its images.
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