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Uwięzieni we wnętrzu - "Motyl i skafander" Juliana Schnabela i "Tajemniczy płomień królowej Loany" Umberto Eco

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Front S.
ER(R)GO: Teoria – Literatura – Kultura
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2012
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issue 1-2(24-25) interiory/eksteriory (pod gościnną redakcją Zbigniewa Białasa i Pawła Jędrzejki)
67-73
EN
Trapped in the Interiors: Julian Schnabel’s The Diving-Bell and the Butterfly and Umberto Eco’s The Mysterious Flame of Queen Loana Both Jean-Dominique Baube, the protagonist of The Diving-Bell and the Butterfly (2007), and Yambo, the protagonist of Umberto Eco’s The Mysterious Flame of Queen Loana (2004), have become imprisoned in their bodies as a result of accidents. What a viewer and the reader are presented with is the view from the interiors of the subjects suspended from their sensory-motor continuity. Both attempting to put their past in order, they experience a kind of immeasurable subjective time; a perpetual present. The paper explores the significance of the dislocation from the linear continuity of spatialized time to the characters and its influence on their selves by means of Gilles Deleuze’s theory of time-image.
2

Hacking the Brain: Duncan Jones’s Source Code

100%
Front S.
Świat i Słowo
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2017
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vol. 15
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issue (1) 28
11-26
EN
The paper concentrates on the new representations of human consciousness in digital cinema which reflect contemporary culture’s fixation on the cerebral. As digital cinema’s divorce from the photographic base has allowed to produce virtual worlds, many of them are situated literally in the protagonist’s mind. The new rep- resentations of consciousness in film tap into philosophical and scientific notions of time and temporality as well as into the discoveries of neuroscience and quantum physics. Some of these discoveries represented in film offer the possibility of release from the restrictions of the physical body, which can be exemplified by Duncan Jones’s Source Code (2011). In the film the protagonist’s consciousness is repeat- edly transferred to another man’s body locked in the past segment of space-time, in which he splits into a multiplicity of selves. This provokes the question: is the protagonist’s personhood continued after the transfer of consciousness? To answer that, one needs to take into account the bodily-continuity theory and the psycho- logical continuity theory of personal identity, yet they can only partly be applied to Source Code because they rely on the classical notion of linear time. As technoculture has triggered a radical redefinition of space and time, what follows is the need for a reformulation of the understanding of human identity. The essay explores the film’s designation of personal identity, applicable to the information age.
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