ontainment. The cinematic's visible inscription of the dual, reversible, and animated structure of embodied and mobile vision radically transforms the temporal and spatial structure of the photographic. Consonant with what Jameson calls the "high-modernist thematics of time and temporality," the cinematic thickens the photographic with "the elegaic mysteries of dure and of memory."[27] While its visible structure of "unfolding" does not challenge the dominant realist perception of objective time as an irreversibly directed stream (even flashbacks are contained by the film's vision in a forwardly directed momentum of experience), the cinematic makes time visibly heterogeneous. That is, we visibly perceive time as differently structured in its subjective and objective modes, and we understand that these two structures simultaneously exist in a demonstrable state of discontinuity as they are, nonetheless, actively and constantly synthesized in a specific lived-body experience (i.e., a personal, concrete, and spatialized history and a particularly temporalized narrative). Cinema's animated presentation of representation constitutes its "presence" as always presently engaged in the experiential process of signifying and coming-into-being. Thus the significant value of the "streaming forward" that informs the cinematic with its specific form of temporality (and differentiates it from the atemporality of the photographic) is intimately bound to a structure not of possession, loss, pastness, and nostalgia, but of accumulation, ephemerality, and anticipation--to a "presence" in the present informed by its connection to a collective past and to a future. Visually (and aurally) presenting the subjective temporality of memory, desire, and mood through flashbacks, flash forwards, freeze framing, pixilation, reverse motion, slow motion, and fast motion, and the editorial expansion and contraction of experience, the cinema's visible (and audible) acti...
