Annotations for "Time"

Item	Time	Annotation	Layer
The Glass Menagerie by Tennessee Williams	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
The Glass Menagerie by Tennessee Williams	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
Arrival Beginning	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 the her perception of time.	General Commentary
Arrival Beginning	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
Arrival Beginning	0:04 - 0:17	This canvas of the lanscape 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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	0:26 - 1:00	We jump from the empty room to the hospital, where Louise had just given birth to her daughter.	Time scene 2
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	0:02 - 0:06	Louise begins the film by narrating, "I used to think this was the beginning of your story"	Dialogue, Narration
Arrival Beginning	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
Arrival Beginning	1:35 - 1:37	Louise's narration comes back, she recalls, "I remember moments in the middle."	Dialogue, Narration
Arrival Beginning	1:56 - 1:58	As a narrator, Louise returns with a somber attitude, remarking, "And this was the end." This seems to complete the tradiditonal 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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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
Arrival Beginning	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 and draws out and the lighting gets dimmer, implying to us that she has died. Again, we see the similar shirt.	Time scene 8
Arrival Ending	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
Arrival Ending	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
Arrival Ending	1:09 - 1:16	Back to scene 2, where they continue to hug like seen before, but conversation continues.	Time scene 2
Arrival Ending	2:05 - 2:13	Jumping to scene 2, and both Ian and Louise are in full embrace of each other.	Time scene 2
Arrival Ending	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
Arrival Ending	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
Arrival Ending	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
Arrival Ending	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
Arrival Ending	1:03 - 1:08	Back to scene 1, with the 'couple' dancing together and embarcing themselves in a hug, with parallels seen in head placement.	Time scene 1
Arrival Ending	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 bird cage, as seen in the scenes with the aliens.	Time scene 1
Arrival Ending	1:24 - 1:30	Though it seems that the prior scene was still within the same time as scene 1, the shot cut goes back to the 'couple' instead of the painting, and the 'couple' hugging and dancing, conversation continues.	Time scene 1
Arrival Ending	2:01 - 2:04	Back to scene 1, and Louise responds to Ian's question.	Time scene 1
Arrival Ending	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
Arrival Ending	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
Arrival Ending	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
Arrival Ending	0:40 - 0:46	I think a large point 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 attitute of happiness and love they experience.	General Commentary
Arrival Ending	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 critize 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
Arrival Ending	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 abiIity, 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
Arrival Ending	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 make 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
Arrival Ending	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
Arrival Ending	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
Carson McCullers at The Poetry Center, YMHA	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
Carson McCullers at The Poetry Center, YMHA	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
Carson McCullers at The Poetry Center, YMHA	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
I sit here immobile by Derek Jarman and Donna McKevitt	0:39 - 0:44	All our memories wasted	Music script
I sit here immobile by Derek Jarman and Donna McKevitt	1:16 - 1:19	Did you imagine	Music script
I sit here immobile by Derek Jarman and Donna McKevitt	1:19 - 1:21	One morning	Music script
I sit here immobile by Derek Jarman and Donna McKevitt	1:21 - 1:26	The sun would not rise	Music script
I sit here immobile by Derek Jarman and Donna McKevitt	1:27 - 1:38	That I would have to bear witness?	Music script
I sit here immobile by Derek Jarman and Donna 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
I sit here immobile by Derek Jarman and Donna 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, indepedent of being an abjective, 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
I sit here immobile by Derek Jarman and Donna 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
I sit here immobile by Derek Jarman and Donna 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
I sit here immobile by Derek Jarman and Donna 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 intimiate 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
I sit here immobile by Derek Jarman and Donna 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 overlooming death of the relationship.	Commentary