| Summary: | Through an engagement with Gilles Deleuze's philosophy of the cinema, this thesis explores how the notion of labyrinthine time is represented differently in movement- and time-images. Part I contrasts the different types of subject that are created in the narratives of the two types of image. This begins with an exploration of the philosophical conceptions of time behind the two images and the subjects they create. Chapter two focuses on the role of memory in the creation of these subjects, drawing on the works of Henri Bergson, and using films by Hitchcock and Fellini. The third chapter delves into the recent re-emergence of the debate over spectator positioning, and questions what Deleuze can offer this field. Here the thesis most comprehensively negotiates its place within the field of film studies, through its interaction with psychoanalytical theories of the subject, and the debate over what exactly constitutes suture. Part II focuses on the movement-image. In particular it explores characters' attempts to perform their present identities differently, by falsifying their past and taking a new direction through the labyrinth of time. Chapters four and five analyse the way in which this performativity is represented in, Sliding Doors, Run Lola Run, The Talented Mr Ripley and Memento. These recent films are seen to draw a broad distinction between female performativity, which is sanctioned, but only for a brief while, and male performativity, which is represented as getting away with murder. Movement-images are thus found to uphold a very traditional gender binary, by reterritorializing the labyrinth's subversive potential into a legitimizing straight line and its marginalized, labyrinthine other. This is a conclusion that had already been suggested in chapter three.
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