Abstract
In most traditional films, temporality is the normal linear progressive flow of film scenes. Technological advancements have allowed filmmakers to cut the normal flows of scenes and disrupt the linear progression of time, which was later called the atemporal mode of cinema. This introductory chapter discusses how the experience of the movement of “time” was addressed in contemporary films which has been collectively called “atemporal cinema.” It begins by presenting the twentieth-century philosophical assumptions and theories for atemporality, which includes Sigmund Freud’s concepts of “desire” and “drive.” The concepts of atemporality and other philosophical theories have been portrayed in contemporary films such as Michael Haneke’s Code Inconnu (Code Unknown, 2000).
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