Annotations for "Time"

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Item	Time	Annotation	Layer
III. The Beginning Montage	1:43 - 1:47	Scene starts out with Louise's daughter staring at the camera, where we assume Louise to be, and shifts from an aggressive fight to a calm-toned amends. The lighting is fairly unsaturated.	Time scene 5
III. The Beginning Montage	1:48 - 1:52	Both Louise and her daughter are in the hospital again, but this time it seems that the daughter is getting checked up for something.	Time scene 6
III. The Beginning Montage	0:02 - 0:06	Louise begins the film by narrating, "I used to think this was the beginning of your story"	Dialogue, Narration
III. The Beginning Montage	0:13 - 0:25	She continues, "Memory is a strange thing... It doesn't work like I thought it did; we are so bound by time, by its order."	Dialogue, Narration
III. The Beginning Montage	1:35 - 1:37	Louise's narration comes back, she recalls, "I remember moments in the middle."	Dialogue, Narration
III. The Beginning Montage	1:56 - 1:58	As a narrator, Louise returns with a somber attitude, remarking, "And this was the end." This seems to complete the traditional storyline of the montage, as she has now mentioned her, we now know as her narration towards her daughter, beginning, middle, and end.	Dialogue, Narration
III. The Beginning Montage	2:27 - 2:30	At the end of her narration, she returns again, "But now I'm not so sure I believe in beginnings and endings."	Dialogue, Narration
III. The Beginning Montage	0:26 - 1:00	We jumped from the empty room to the hospital, where Louise had just given birth to her daughter.	Time scene 2
III. The Beginning Montage	2:18 - 2:30	Now we see Louise walking the halls of the hospital somberly, as the lights begin to fade again. The end of this scene enters the film into a much more familiar timeline in films.	Time scene 9
III. The Beginning Montage	1:59 - 2:17	Continuing to cry, blending with the last scene, we begin thinking it might be at the same time, but when the camera spans to the daughter on her hospital bed, it becomes apparent that the daughter had cancer due to her head being bald. The scene draws out and the lighting gets dimmer, implying to us that she has died. Again, we see a similar shirt.	Time scene 8
III. The Beginning Montage	1:33 - 1:42	Jumps to a scene where she looks around the same age, but she is now in her bed, in golden-yellowish lights.	Time scene 4
III. The Beginning Montage	1:06 - 1:09	Two note repetition; the repetition throughout the piece will be highlighted to show scale of repetition and serve as a use for making an argument about how the music itself plays a role in the film's conceptual authenticity.	Score
III. The Beginning Montage	0:00 - 0:25	As the film begins, Dr. Louise Banks introduces us, referring to someone, in what seems to be her house on the side of a body of water. The room is dark and no lights are on, it seems to be either early morning or towards the end of the day. The room is empty.	Time scene 1
III. The Beginning Montage	1:01 - 1:32	The next scene sends us to when the daughter has grown a bit, around 8 or 9 years old, and they are playing around together outside, seemingly roleplaying as in the Wild West.	Time scene 3
III. The Beginning Montage	0:03 - 0:07	Within the first line of the film, we already get a sense that time and storyline are going to be a large part of the film. We also, in retrospect, recognize that Louise mentioned "used to think", so we know that something in the film is going to change her perception of time.	General Commentary
III. The Beginning Montage	0:13 - 0:16	Her introduction of memory is also interesting. For many artists, the connection between time and memory is heavy. As some believe memory to be our understanding of time. Memory is personal, and if we are to look at the crossing of time and story, memory will be at the crux of it.	General Commentary
III. The Beginning Montage	0:04 - 0:17	This canvas of the landscape through the window continues to come throughout the film, as you will see in the Ending Montage annotations. The use of repetition seems to be very important, as you also see through the film creator's choice in music. Repetition can add the sense of timelessness, or as a reminder that even when our focus shifts from one thing to another, we will constantly be reminded of that which is always there.	General Commentary
III. The Beginning Montage	0:54 - 0:56	When Louise asks for her baby back, we again, watching in retrospect, know that this could be because she knows that she only has limited time with her baby. However, this seems to direct us in a very important aspect of the film. There are distinct differences between what we, in real life, know about our life, and what Louise knows with her ability to see her life holistically thanks to the gift from the aliens' language. However, the film seems to point out the hypocrisy of how our brains distinct these two things because after we repeat our sentence, "this could be because she knows that she only has a limited time" is full of hypocrisy, because this is something we can believe and say without knowing our full story. We all know one thing, and that is that death is certain.	General Commentary
III. The Beginning Montage	1:13 - 1:30	With Louise's playtime with her daughter, again in retrospect, we begin to see more of what the creators were attempting to highlight, as even here, she still finds time to enjoy and embrace the moment, even though she knows that her daughter is going to die. It seems to be this, this embracing of the moment in its whole, that the film is arguing we ought to do.	General Commentary
III. The Beginning Montage	1:55 - 2:00	Even knowing her daughter's future, she still weeps, and this seems to make a distinction between intellect, or reason, and emotion. To some, the uncertainty of our world is what brings these emotions to fruition. In some instances, this makes more sense, like fear; why would one cry or become anxious about something you know is coming? On the other hand, you can expect something to bring you pain, but that knowledge does not protect or prevent the feeling of pain. Nonetheless, the film points out that knowing something doesn't inherently change how we express emotion. In the last commentary, we discussed how this knowledge doesn't prevent us from giving things meaning, but this seems to promote the other side; knowledge doesn't prevent things from inherently having meaning to us.	General Commentary
III. The Beginning Montage	2:07 - 2:12	Louise again repeats the line that she mentioned when the nurse initially took her daughter for a check at the beginning of the montage saying, "Come back to me." This again fuels the importance of repetition and timeless aspects of love juxtaposing the very limited and time-constrained aspects of human reality.	General Commentary
III. The Beginning Montage	1:04 - 1:08	This scene with the daughter running around with the stick horse, in my understanding, provides a good example of Deleuze and his conception of the Time-Image. Not only is the film playing around with the use of time through these montages, but there is something inherently inauthentic about these seemingly raw and emotional moments being drowned out by the use of the music and the focus going in and out on the daughter or Louise herself.	General Commentary
III. The Beginning Montage	2:02 - 2:03	This discussion of the story as well as the complete curation of the music, even when that isn't how it was made considering it wasn't made for the film, points to a great conglomeration of creation that I believe highlights Deleuze's Crystal-Image very well. It isn't just the spelling out, it isn't just the collection of images, it is the complete molten or forged whole that comes out of these images put together along with every aspect from the music to the filter. It makes the lines between the pictures dissipate, and this is what Deleuze means when hinting at the Time-Image as beyond the Movement-Image.	General Commentary
III. The Beginning Montage	1:53 - 1:58	The doctor and Louise are talking alone in the hallway where Louise begins to cry, being told unfortunate information about her daughter's health. The shirt that Louise is wearing looks like the same one worn from the previous scene.	Time scene 7
IV. The Ending Montage	0:03 - 0:05	Louise dancing and smiling, seemingly contradicting the narrative people would assume when someone knows the exact trajectory of their lives; leading us to think she might have a different interpretation.	General Commentary
IV. The Ending Montage	0:20 - 0:22	When Ian asks Amy these questions, after finishing the movie, it finds itself in a strange place, as the sentiment of what Ian was trying to say versus the very literal asking of a question are in different places. The sentiment of him saying that she surprises her could still evoke an emotional response no matter if Louise knew what he was going to say.	General Commentary
IV. The Ending Montage	0:33 - 0:37	Louise's response, however, was not very open or obvious to us. She seems to not be surprised herself, funnily, but almost to have a somber reaction. The way I interpret it is as a mental state: knowing where this is going and how this could be a beginning moment, a crux of will and memory as a moment in time.	General Commentary
IV. The Ending Montage	0:40 - 0:46	I think a large point of the contrasting scenes in this ending portion of the film is to represent how many of these moments we deem as so important seem very insignificant either later on or in the larger scheme of things. In the scene prior, she is having a very reflective moment with Ian, but as we jump into the 'future' we get a picture of the carelessness and in-the-moment attitude of happiness and love they experience.	General Commentary
IV. The Ending Montage	1:00 - 1:10	This cross-time, cross-scene parallel as Louise hugs Ian in both the direct aftermath of solving the case and in her romance years later with him, seems to criticize even the other points made, like in the last General Commentary annotation. It calls to question our understanding of moments themselves, as we tend to see them as deeply, very different, but in many ways, like the hug between Ian and Louise, there are a lot of parallels.	General Commentary
IV. The Ending Montage	1:13 - 1:16	Louise and her comment about her memory of being in Ian's arms is strange in a straight-timeline world because she, considering she says it in the scene right after the case with the aliens had been solved, has never been in Ian's arms before. This hints, like the changing time-scenes, at the large part of the plot where Louise has the ability, thanks to her understanding of the new language, to 'see into the future' or for more cohesive terms of the film, she can 'see her life holistically'. So, even though she hasn't, in Ian's perception of time, ever been held by him, she 'remembers', which seems to point to many of the linguistic themes of the film as a 'bad' translation, being in his arms. Maybe, there is even an attempt at labeling this 'bad' translations as a creation themselves to a new or unique understanding of the term itself.	General Commentary
IV. The Ending Montage	1:27 - 2:01	This annotation highlights the long period of time that it takes for Louise to answer Ian's question on whether or not she wants to have a baby. This seems to come up multiple times, where we would assume that since she knows that he is going to ask that question, why would it take her so long to respond? It seems to correlate with a larger theme that is emphasized at the very end of the film that we will get to, but the idea, itself, is that having answers to questions doesn't remove their magical or emotional essence. Much of the film, especially considering the language aspect, deals with the importance of teaching the aliens what a 'question' is. This is because, ultimately, the humans want to ask "what is your purpose on earth?" So, this reaction to the question seems to contradict some of the importance and initial response that viewers would have when watching that scene, as now we are being informed that it is the essence of the question, the timelessness of it, not the answer, that makes it beautiful.	General Commentary
IV. The Ending Montage	1:45 - 1:54	During the conglomeration of the daughter's life, this selection seems to be the youngest, apart from the birth we see at the beginning, in the film. The irony of it is that during this 'montage' of her life, this selection of her as a baby is in the middle, and it is surrounded, both before and after, of her as an older child. This seems to add to that friction in moments and time, and the rejection of the timeline.	General Commentary
IV. The Ending Montage	2:12 - 2:14	Louise completely embraces Ian, as mentioned before, and her hand grips his hair and head. This seems to represent this larger theme, that we mentioned we would cover in an earlier General Commentary, of completely throwing herself into the moment, as we can assume that if we knew the entire trajectory of our lives we could be easily lost in our understanding of time. This also adds as a critique of viewing time as a line, as it suggests that we are dependent on it to understand our meaning and our place within it.	General Commentary
IV. The Ending Montage	1:01 - 1:09	To further the point, this scene that uses the parallel of the hug brings together again the use of Time-Image by Deleuze. In these two, very independent frames, the film brings them together through music and editing to melt the movement between the images themselves, to form a synchronic, play-like relationship with the linear timeline.	General Commentary
IV. The Ending Montage	0:08 - 0:37	Ian and Louise standing next to each other right after the conclusion of their case with the aliens had ended, as they haven't even left the field where they were doing their work yet.	Time scene 2
IV. The Ending Montage	0:46 - 1:02	Jumping back to the field right after their case has ended, Ian and Louise look at each other and hug.	Time scene 2
IV. The Ending Montage	1:09 - 1:16	Back to scene 2, where they continue to hug like seen before, but conversation continues.	Time scene 2
IV. The Ending Montage	2:05 - 2:13	Jumping to scene 2, and both Ian and Louise are in full embrace of each other.	Time scene 2
IV. The Ending Montage	1:31 - 2:00	This seems to be a conglomeration of time scenes of the daughter of both Ian and Louise's, they are out of order, and in some spaces she is in similar clothing, some different, and also includes scenes where she is at different ages.	Time scene 3
IV. The Ending Montage	0:00 - 0:07	Dr. Louise Banks dancing around with wine in her hand, presumably heading in the direction of Dr. Ian Donnelly. The implication of this scene is that it is a good amount of time, maybe years, after their case with the aliens had finished, and they are enjoying themselves together and their new life.	Time scene 1
IV. The Ending Montage	0:38 - 0:45	Louise and Ian are now dancing together, and it seems to be a jump back to the scene with Louise and her wine, but now they are together and dancing.	Time scene 1
IV. The Ending Montage	1:03 - 1:08	Back to scene 1, with the 'couple' dancing together and embracing themselves in a hug, with parallels seen in head placement.	Time scene 1
IV. The Ending Montage	1:17 - 1:23	The lighting and shot change leads us to believe this is back at scene 1, and it is implied that this is the painting by the daughter that shows both Ian and Louise and their experience in the room with the aliens due to the birdcage, as seen in the scenes with the aliens.	Time scene 1
IV. The Ending Montage	1:24 - 1:30	Though it seems that the prior scene was still within the same time as scene 1, the shot goes back to the 'couple' instead of the painting, and the 'couple' hugging and dancing, conversation continues.	Time scene 1
IV. The Ending Montage	2:01 - 2:04	Back to scene 1, and Louise responds to Ian's question.	Time scene 1
IV. The Ending Montage	0:10 - 0:13	Two note repetition; the repetition throughout the piece will be highlighted to show scale of repetition and serve as a use for making an argument about how the music itself plays a role in the film's conceptual authenticity.	Score
VII. The Glass Menagerie	0:19 - 0:45	TOM: To begin with, I turn bark time. I reverse it to that quaint period, the thirties, when the huge middle class of America was matriculating in a school for the blind. Their eyes had failed them or they had failed their eyes, and so they were having their fingers pressed forcibly down on the fiery Braille alphabet of a dissolving economy.	Transcription
VII. The Glass Menagerie	1:08 - 2:37	TOM: The play is memory. Being a memory play, it is dimly lighted, it is sentimental, it is not realistic. In memory everything seems to happen to music. That explains the fiddle in the wings. I am the narrator of the play, and also a character in it. The other characters are my mother Amanda, my sister Laura and a gentleman caller who appears in the final scenes. He is the most realistic character in the play, being an emissary from a world of reality that we were somehow set apart from. But since I have a poet's weakness for symbols, I am using this character also as a symbol; he is the long-delayed but always expected something that we live for. There is a fifth character in the play who doesn't appear except in this larger-thanlife-size photograph over the mantel. This is our father who left us a long time ago.He was a telephone man who fell in love with long distances; he gave up his job with the telephone company and skipped the light fantastic out of town. . . .The last we heard of him was a picture postcard from Mazatlan, on the Pacific coast of Mexico, containing a message of two words - 'Hello - Good-bye!' and no address.I think the rest of the play will explain itself ...	Transcription
VII. The Glass Menagerie	1:08 - 1:10	A memory play is what Tennessee Williams describes as how he is intending on being closer to truth through his art. He believes that the "photographic likeness" of the realistic plays emphasize what is unimportant in art: truth. So, this play is meant to be like the narrator's memory of these events, which is also why it happens to be semi-autobiographical. Williams is a character, narrator, director, and writer through himself and Tom.	Commentary
VII. The Glass Menagerie	5:39 - 5:41	This is the beginning of the omission of a very integral idea that Williams had in mind in his vision for the play. The play itself played with reality and time as an attempt to uncover truth. To me, this reminds me of Gilles Deleuze on the Crystal-Image, as we were meant to envision a seemingly crystalized version of Tom's memory in an attempt to fully understand the concept that Williams was attempting to convey.	Commentary
VII. The Glass Menagerie	13:16 - 13:20	This also removed a certain atmosphere for the chaotic and broken style of production that Williams was intending through the memory play. I would also be curious to see how Deleuze would view these images. As they remind me of his understanding of montage and part of the Movement-Image.	Commentary
VII. The Glass Menagerie	16:33 - 16:34	This image is a bit different from the others as it completely shows us the visual of a blue roses, even though the reality of blue roses was that it was a misinterpretation of her iIlness. This can play into some of Williams' ideas of how memory works and how imagery plays a role in memory. The question to me becomes is the imagery for the audience to have this visual battle in their minds before they realize why he really calls her Blue Roses or is it more to represent how he visualizes it when remembering?	Commentary
VII. The Glass Menagerie	18:38 - 18:39	Giving us a better idea about how this image is still, as he continues to say, haunting him in this memory. This allows us to make a better decision about the earlier images including that of the Blue Roses.	Commentary
VII. The Glass Menagerie	21:12 - 21:13	Before we see Tom speak, there is a note in the original Broadway script that mentions that there was meant to be a light shining on Laura throughout this scene that seems to highlight how when Tom remembers this experience, he continues to focus on how Laura reacts or feels.	Commentary
VII. The Glass Menagerie	22:02 - 22:03	In the original, there is also a production note that says that the upstate area is "lit with a turgid smokey red glow" to resemble the growing anger and exemplify it through the poetic imagination of Tom's memory.	Commentary
VII. The Glass Menagerie	23:46 - 23:48	Whether or not this was intentional is worth looking into, but again could be connected to Hutcheon's idea of already knowing the story. Having it in your memory as well.	Commentary
VIII. Jarman and McKevitt	0:20 - 0:21	The second way it could be read is through the comparison of the two renditions "your dream laughter" and "your dreaming laughter" all together (like done through this project). This allows us to see the subtraction, immediately, of the "ing" at the end of "dreaming". This initially leads us to believe there might be a change, in time, of the two renditions. Dreaming can also, independent of being an adjective, be a state. The state of being in a dream. This means that this change goes from an active, living state, to a conceptual, timeless state.	Commentary
VIII. Jarman and McKevitt	0:27 - 0:30	However, there seems to be a connective thread to pull through the differences. There seems to be a "fall" of the divine. For the music and video, they point it out very blatantly by saying directly "the heavens have fallen". This also speaks in the same tense as the change, implying that the heavens have already fallen, maybe to some example-- maybe even alluding to the heavens have fallen due to the example Jarman gives, but in a more general way.	Commentary
VIII. Jarman and McKevitt	0:47 - 0:53	In this annotation we see the change of tense going from "blinded" to "blind", past tense to present. This could be a choice by Donna McKevitt to make it more generalized due to the use of the present tense. We see this change in tense multiple times throughout the poem. There is a stark difference between having experienced something and being within the experience, as well as being told about going through something in the past versus going through something now. Another choice to evoke a more direct emotional or aesthetic response.	Commentary
VIII. Jarman and McKevitt	1:07 - 1:15	This statement, as seen above and in the video, makes for an unusual initial interpretation. The big question lies in what does "the day of your passion" mean? Ultimately, a very intimate understanding of time. The idea of a day is used throughout the poem to create a very intimate timeframe where Jarman and the person he is talking to are able to exist together. At the end of the poem, this specificity is answered. In this sense, time is seen as a valuable place and commitment to another person.	Commentary
VIII. Jarman and McKevitt	1:20 - 1:21	Another mention of the 'day' and an emphasis on how time can define one's relationship and serve even as the ultimate fear or the looming death of the relationship.	Commentary
VIII. Jarman and McKevitt	0:01 - 0:01	My friend Howard Brookner dies in New York. A letter falls through the door. Words forget their sweet meaning, drowned by time, no one remembers the old story. How can anything endure the terrible rising of the sun, the death of a thousand summers?	Original poem, omitted
VIII. Jarman and McKevitt	0:39 - 0:44	All our memories wasted	Music script
VIII. Jarman and McKevitt	1:16 - 1:19	Did you imagine	Music script
VIII. Jarman and McKevitt	1:19 - 1:21	One morning	Music script
VIII. Jarman and McKevitt	1:21 - 1:26	The sun would not rise	Music script
VIII. Jarman and McKevitt	1:27 - 1:38	That I would have to bear witness?	Music script
X. The Poetry Center	22:49 - 23:22	McCullers begins, "Well, I didn't know what was going to happen, but I knew something was going to--(coughing and laughing). I didn't know- I knew- I didn't know who was going to shoot who, but something was coming up. So then I just wrote for the fun of it, cause it was finished. Then I put it in a drawer for about two years. Until one day, uh, somebody, was, um, meddling in my things and read that story."	Transcription
X. The Poetry Center	18:57 - 19:29	"For in his swift radiance of illumination, he saw a glimpse of human struggle and of valor, of the endless fluid passage of humanity through endless time, and of those who labor, and of those who, one word, love. His soul expanded, but for a moment only. For in him he felt a warning, a shaft of terror, between the two worlds he was suspended. He saw that he was looking at his own face in the counter-glass before him, sweat glistened on his temples and his face was contorted."	Excerpts
X. The Poetry Center	10:32 - 11:10	With the annotation of the transcription above, we can also see her timeline for her work, and it allows researchers an interesting look into the role of memory in an artist's world. With many interviews, the importance for the researcher can become much less about what they say about their work, but more about what they don't say or what they forget.	Commentary
X. The Poetry Center	7:36 - 8:52	"When we are lost what image tells? Nothing resembles nothing. Yet nothing is not blank. It is configured Hell: Of noticed clocks on winter afternoons, malignant stars, Demanding furniture. All unrelated And with air between. The terror. Is it of Space, of Time? Or the joined trickery of both conceptions? To the lost, transfixed among the self-inflicted ruins, All that is non-air (if this indeed is not deception) Is agony immobilized. While Time, The endless idiot, runs screaming round the world."	When We Are Lost by Carson McCullers