ABSTRACT
The following will be an example, that is, a model of the way in which a cinematic usage can differ (based on the Jean-Luc Godard, Two or Three Things I Know About Her (1966) https://s3-euw1-ap-pe-df-pch-content-public-p.s3.eu-west-1.amazonaws.com/9781315852041/cc78498e-98e9-41a7-8739-5079aa5aaa92/content/fig19_B.jpg" xmlns:xlink="https://www.w3.org/1999/xlink"/> transformations which it is formed by and which it forms) from “the rest” of the film it appears in. The way in which a close-up of, let us say, seventy-two frames' duration functions (three seconds at a normal speed of twenty-four frames per second) is grounded in the filmic context of each film. So meaning is formulated not only at the moment of the three-second sequence's being perceived by the viewer, or by its material existence as three-seconds of film-strip, but via its relation to the prior and forthcoming, and that in relation to the viewer's memory and rememoration attempts. Transformations are caused by memory and by the consciousness a reflexive process of attempted meaning-making demands. Thus the three-second strip here isolated for the purposes of this discussion must constantly be recalled within context.
