Abstract
As any good Godardian will attest, the truly unique art of film is not montage, which is the basis of linear narrative, but collage, which is based on association. Likewise, this chapter associates Henri Bergson, Gilles Deleuze and Jean-Luc Godard with the theory of the time-image, as well as the French New Wave, the New Hollywood of the 1970s, and the successive slacker generations of filmmakers in the American cinema of the early 1990s and now. Gradually, this chapter will come to focus on Spanish cinema as a case study of the convergence of new screen technologies and the Internet that heralds a powerful new beginning, one for which slackers’ use of the time-image provides the form, content and meaning of a relevant and resonant counter-culture.
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© 2011 Rob Stone
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Stone, R. (2011). Al mal tiempo, buena cara: Spanish Slackers, Time-images, New Media and the New Cinema Law. In: Davies, A. (eds) Spain on Screen. Palgrave Macmillan, London. https://doi.org/10.1057/9780230294745_3
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DOI: https://doi.org/10.1057/9780230294745_3
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-31437-9
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