Time-Image Visions in The Film Everything Everywhere All at Once: Multiple Universes, Layers, Cracks and Differences

Evrim Nacar

Makale detayları

Time-Image Visions in The Film Everything Everywhere All at Once: Multiple Universes, Layers, Cracks and Differences

Yazarlar:

Evrim Nacar

Yayıncı:

Hacettepe University

Ana Başlıklar:

İletişim Çalışmaları | İletişim ve Medya Çalışmaları (Diğer) | Ekran ve Medya Kültürü

Dergi:

Moment Dergi Vol.11 Issue 2, pp.384-402

Belge Tipi:

Makale

Yayın Tarihi:

8/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001338677

pISSN:

2148-970X

Anahtar kelimeler:

Özet:

 Gilles Deleuze, in his two-volume work on cinema, Cinema I: Movement-Image 2014 and Cinema II: Time-Image 2021, made important contributions to the theory of cinema. These two image types played a decisive role dividing cinema into historical periods. Deleuzes concept of time-image, elaborated in the second volume, emphasizes uncertainty, pauses and layers of memory. Everything Everywhere All at Once 2022, directed by Daniel Scheinert and Daniel Kwan, explores this concept and the relative nature of memory and time through inter-universal journeys and fragmented images, presenting a multi-layered narrative in which the past is carried into the present. The film develops new thoughts on the relationship between memory and time with the fragmented images it creates through a metaphor of memory in which past and present are intertwined and presents a direct image of time with its fiction that carries the past into the present and the present into multiple universes. In this context, the film was examined through philosophical criticism based on the concepts of relative time, duration, and memory specific to time-image cinema.

 Gilles Deleuze, in his two-volume work on cinema, Cinema I: Movement-Image 2014 and Cinema II: Time-Image 2021, made important contributions to the theory of cinema. These two image types played a decisive role dividing cinema into historical periods. Deleuzes concept of time-image, elaborated in the second volume, emphasizes uncertainty, pauses and layers of memory. Everything Everywhere All at Once 2022, directed by Daniel Scheinert and Daniel Kwan, explores this concept and the relative nature of memory and time through inter-universal journeys and fragmented images, presenting a multi-layered narrative in which the past is carried into the present. The film develops new thoughts on the relationship between memory and time with the fragmented images it creates through a metaphor of memory in which past and present are intertwined and presents a direct image of time with its fiction that carries the past into the present and the present into multiple universes. In this context, the film was examined through philosophical criticism based on the concepts of relative time, duration, and memory specific to time-image cinema.

 Gilles Deleuze, in his two-volume work on cinema, Cinema I: Movement-Image 2014 and Cinema II: Time-Image 2021, made important contributions to the theory of cinema. These two image types played a decisive role dividing cinema into historical periods. Deleuzes concept of time-image, elaborated in the second volume, emphasizes uncertainty, pauses and layers of memory. Everything Everywhere All at Once 2022, directed by Daniel Scheinert and Daniel Kwan, explores this concept and the relative nature of memory and time through inter-universal journeys and fragmented images, presenting a multi-layered narrative in which the past is carried into the present. The film develops new thoughts on the relationship between memory and time with the fragmented images it creates through a metaphor of memory in which past and present are intertwined and presents a direct image of time with its fiction that carries the past into the present and the present into multiple universes. In this context, the film was examined through philosophical criticism based on the concepts of relative time, duration, and memory specific to time-image cinema.

 Gilles Deleuze, sinema üzerine iki ciltlik çalışmasında Sinema I: Hareket-İmge 2014 ve Sinema II: Zaman-İmge 2021 ile sinema teorisine önemli katkılarda bulunmuştur. Bu iki imge türü sinemanın tarihsel dönemlere ayrılmasında belirleyici bir rol oynamıştır. Deleuzeün ikinci ciltte detaylandırdığı zaman-imge kavramı belirsizliği, duraksamayı ve bellek katmanlarını odağına alır. Daniel Scheinert ve Daniel Kwanın yönettiği Her Şey Her Yerde Aynı Anda 2022 filmi de zaman-imge kavramıyla birlikte düşünüldüğünde, evrenler arası yolculuklar ve parçalanmış imgeler aracılığıyla bellek ve zamanın izafi doğasını keşfederek, geçmişin şimdiki zamana taşındığı çok katmanlı bir anlatı sunmaktadır. Film geçmiş ve şimdinin iç içe geçtiği bir bellek metaforu aracılığıyla oluşturduğu parçalanmış imgelerle, bellek ve zaman ilişkisi üzerine yeni düşünceler geliştirmekte ve geçmişi şimdiki zamana, şimdiki zamanı çoklu evrenlere taşıyan kurgusuyla zamanın dolaysız bir imgesini sunmaktadır. Bu bağlamda film zaman-imge sinemasına özgü izafi zaman, süre ve bellek kavramları ekseninde felsefi eleştiri yöntemiyle incelenmiştir.

Makale detayları

Time-Image Visions in The Film Everything Everywhere All at Once: Multiple Universes, Layers, Cracks and Differences

Yazarlar:

Evrim Nacar

Yayıncı:

Hacettepe University

Ana Başlıklar:

İletişim Çalışmaları | İletişim ve Medya Çalışmaları (Diğer) | Ekran ve Medya Kültürü

Dergi:

Moment Dergi Vol.11 Issue 2, pp.384-402

Belge Tipi:

Makale

Yayın Tarihi:

8/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001338677

pISSN:

2148-970X

: time-image

movement-image

Everything Everywhere All at Once

duration

memoryzaman-imge

hareket-imge

Her Şey Her Yerde Aynı Anda

süre

bellek

Sayı

Makale detayları

Yazarlar: Evrim Nacar

Yayıncı: Hacettepe University

Ana Başlıklar: İletişim Çalışmaları | İletişim ve Medya Çalışmaları (Diğer) | Ekran ve Medya Kültürü

Dergi: Moment Dergi Vol.11 Issue 2, pp.384-402

Belge Tipi: Makale

Yayın Tarihi: 8/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001338677

pISSN: 2148-970X

Sayı

Yazarlar:

Evrim Nacar

Yayıncı:

Hacettepe University

Ana Başlıklar:

İletişim Çalışmaları | İletişim ve Medya Çalışmaları (Diğer) | Ekran ve Medya Kültürü

Dergi:

Moment Dergi Vol.11 Issue 2, pp.384-402

Belge Tipi:

Makale

Yayın Tarihi:

8/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001338677

pISSN:

2148-970X