Parabolic Transcendence in Time and Narrative

Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA, 2013). In this, I contend that both Primer and Upstre...

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Auteur principal: Joel Mayward
Format: Online
Langue:anglais
Publié: Schüren Verlag 2021
Accès en ligne:46950
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author Joel Mayward
author_browse Joel Mayward
author_facet Joel Mayward
author_sort Joel Mayward
collection Directory of Open Access Books
description Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA, 2013). In this, I contend that both Primer and Upstream Color are post-secular cinematic parables per philosopher Paul Ricoeur’s description of parable: the conjunction of a narrative form and a metaphorical process, addressing the religious via non-religious discourse. Interpreting these two films through a Ricoeurian parabolic hermeneutic addresses their mutual transcendence in and through time and narrative via their striking visual and auditory aesthetics, the use of montage in their nonlinear narratives, and the depiction of invisible relational connections between the films’ protagonists. I conclude that Carruth’s post-secular cinema resides in an in-between space: between the secular and the religious, realism and expressionism, immanence and transcendence.
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spelling doab-20.500.12854ir-634572022-02-11T15:09:21Z Parabolic Transcendence in Time and Narrative Joel Mayward Subjectivity, memory, identity, and the invisible connections between individuals are all conspicuous within filmmaker Shane Carruth’s two award-winning indie sci-fi films, Primer (Shane Carruth, USA, 2004) and Upstream Color (Shane Carruth, USA, 2013). In this, I contend that both Primer and Upstream Color are post-secular cinematic parables per philosopher Paul Ricoeur’s description of parable: the conjunction of a narrative form and a metaphorical process, addressing the religious via non-religious discourse. Interpreting these two films through a Ricoeurian parabolic hermeneutic addresses their mutual transcendence in and through time and narrative via their striking visual and auditory aesthetics, the use of montage in their nonlinear narratives, and the depiction of invisible relational connections between the films’ protagonists. I conclude that Carruth’s post-secular cinema resides in an in-between space: between the secular and the religious, realism and expressionism, immanence and transcendence. 2021-02-12T10:26:02Z 2021-02-12T10:26:02Z 2020-09-01 09:40:01 2020 chapter 46950 2414-0201 https://directory.doabooks.org/handle/20.500.12854/63457 eng Journal for Religion, Film and Media image/jpeg Attribution-NonCommercial-ShareAlike 4.0 International https://www.schueren-verlag.de/programm/titel/654-science-fiction-and-religion.html https://jrfm.eu/index.php/ojs_jrfm/article/view/180 Schüren Verlag Religion and Popular Music 10.25364/05.06:2020.1.2 10.25364/05.06:2020.1.2 5b80c228-3393-4862-a8e9-6c35a63484f1 fa1c53a6-5634-4929-b5ce-5fd001346e24 17-36 open access
spellingShingle Joel Mayward
Parabolic Transcendence in Time and Narrative
title Parabolic Transcendence in Time and Narrative
title_full Parabolic Transcendence in Time and Narrative
title_fullStr Parabolic Transcendence in Time and Narrative
title_full_unstemmed Parabolic Transcendence in Time and Narrative
title_short Parabolic Transcendence in Time and Narrative
title_sort parabolic transcendence in time and narrative
url 46950
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