Abstract
The role of the frame in determining filmic temporality has rarely been discussed. Time in the cinema emerges from diegetic, formal, and symbolic elements organized by the frame, but the prominence of montage and the movement of the filmic frame have tended to obscure the latter’s importance in creating a mediated temporality. This chapter engages with Stan Douglas’s photograph Ballantyne Pier, 18 June 1935 (2008) as a form of theory of filmic temporality. It then compares the role of the frame in determining the temporality of photography, painting, and film, drawing on works such as Andy Warhol’s Empire (1964), Eric Baudelaire’s Sugar Water (2007), and André Bazin essay on Henri-Georges Clouzot’s The Picasso Mystery (Le Mystère Picasso, 1956).
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