temporalisation
Explanation:
I have also come across this as periodisation, but that is for too long of period of time for your purposes, I think.
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Note added at 12 mins (2009-03-09 12:01:49 GMT)
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You could also express it as temporalising which is less clumsy as an EN word, perhaps.
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Note added at 14 mins (2009-03-09 12:03:53 GMT)
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http://books.google.com/books?id=mNTiKb_RKZcC&pg=PA68&lpg=PA...
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Note added at 15 mins (2009-03-09 12:04:42 GMT)
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Obviously temporalisation is the UK spelling, temporalization the US spelling!
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Note added at 22 mins (2009-03-09 12:11:54 GMT)
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http://books.google.com/books?id=DZ_EHG_HRdAC&pg=PA138&lpg=P...
Jacques Becker's Le trou (The hole France 1960) is a particular kind of sound film. It captures your ears, takes them and holds them weightless as it traces a sensory rush across their surface. Playing us between sound and silence, feeding and holding our anticipation of and need for the next aural fill, the film carries us suspended and attentive in this sensory alertness. Le trou was Becker's final film; he died a month before its release.[1] Based on a novel by José Giovanni, the story takes place over a period of about six days as five cell mates, each awaiting sentencing, attempt to dig their way out of La Santé prison. As in most of Becker's work, one is unusually conscious of the film's pacing, its alternations between sound and silence, long shots and close ups, movement and stasis. But Le trou, unlike Becker's other films, is primarily driven by sound - sounds that temporalise the visual in specific ways.
Becker's oeuvre consists of a somewhat eclectic group of works, ranging from gangster films such as the glorious Touchez pas au Grisbi (France 1954) to light romantic comedy like Antoine et Antoinette (France 1947) and he moved across a range of genres with remarkable ease. The thirteen features that he directed between 1942 and 1960 place him between the tail end of the golden age of French classical cinema and the beginnings of the Nouvelle Vague. Too early and too late to belong to either of the privileged periods of French cinema, Becker's work has often been compared to that of Jean Renoir, for whom he worked as an assistant between 1932 and 1939.[2] But perhaps of greater relevance is his collaboration with editor Marguerite Renoir (née Houllée), the de facto - and then ex-de facto - of Jean Renoir. She edited many of Renoir's films in his so-called "middle period", as well as most of Becker's films. This collaboration is by no means insignificant considering the centrality of pacing to the Becker's films and his trademark le temps mort.
As Philip Kemp points out in his essay "Jacques Becker - life in the dead time", le temps mort is a bit of a misnomer (though it is a term the director himself used), for the relevant scenes can hardly be understood as "dead time", and the films are far from slow (40).[3] While not much may happen in terms of plot in Becker's le temps mort scenes, they nevertheless carry the films. In these scenes of everyday interactions and gestures, of intimacies marked by familiarity and affection (as between the two ageing gangsters in Touchez pas au Grisbi), time is not so much dead as expanded, carving out a place for the temporalities of objects and spaces.[4]
http://www.latrobe.edu.au/screeningthepast/firstrelease/fr03...
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Note added at 24 mins (2009-03-09 12:13:00 GMT)
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I should have said that the last citation was to give you some idea of the use of temporality in a visual context - if you need it, of course, which you may well not!!
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Note added at 4 days (2009-03-14 10:41:29 GMT) Post-grading
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Thank you for the points, Emily
| Helen Shiner
United Kingdom
Local time: 06:44
Specializes in field
Native speaker of: English
PRO pts in category: 275
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peer agreement (net): +3
