vity of retension and protension constructs a subjective temporality different from the irreversible direction and momentum of objective time, yet simultaneous with it. In so thickening the present, this temporal simultaneity also extends cinematic presence spatially--not only embracing a multiplicity of situations in such visual/visible cinematic articulations as double exposure, superimposition, montage, parallel editing, but also primally, expanding the space in every image between that Here where the enabling and embodied cinematic eye is situated and that There where its gaze locates itself in its object. The cinema's existence as simultaneously presentational and representational, viewing subject and visible object, present presence informed by both past and future, continuous becoming that synthesizes temporal heterogeneity as the conscious coherence of embodied experience, transforms the thin abstracted space of the photographic into a thickened and concrete world. We might remember here the animated blinking of a woman's eyes in La jete and how this visible motion transforms the photographic into the cinematic, the flat surface of a picture into the lived space of a lover's bedroom. In its capacity for movement, the cinema's embodied agency (the camera) thus constitutes visual/visible space as always also motor and tactile space--a space that is deep and textural, that can be materially inhabited, that provides not merely a ground for the visual/visible, but also its particular situation. Indeed, although it is a favored term among film theorists, there is no such abstraction as point of view in the cinema. Rather, there are concrete situations of viewing --specific and mobile engagements of embodied, enworlded, and situated subjects/objects whose visual/visible activity prospects and articulates a shifting field of vision from a world whose horizons always exceed it. The space of the cinematic, in-formed by cinematic time, is ...
