- - 107 Volume 10 • 2015 10 • Volume - - - Volume 10 action , bullet time, sensations, slow-motion, tem- less, this paper proposes the question of what purpose, in a time of the question of what purpose, in a less, this paper proposes incessant acceleration, could the slowing down of time mean and in that bullet time why has it become so iconic? This paper argues anaction intensificationfilms of is, speed, paradoxically, a different but related way of making movement Although felt. difficultto de- central concerns for contem limit, speed and its felt sensations are only not ways are moments of intensifications These culture. porary pay- distinct provide to also but momentum narrative express to in tamed is Time astonishment. and sensation pure of durations offs, wecinema, slow of desire transcendent the than Rather time. bullet find a kinesthetic desire in cultural acceleration, a desire which is time. bullet of use their and action contemporary in attenuated Keywords poral icon s use of bullet time, the extreme slowing down of the ’s use of bullet time, the extreme iconic for action cinema and hascinematic image, instantly became famous dolly zoom in as Hitchcock’s almost become as recognizable Circulated so much Vertigo. as to almost render the effect meaning Abstract is Associate Professor of English at Aalborg University, Den University, of English at Aalborg is Associate Professor popular include visual culture, interests mark. His research film, and science fiction with a particular emphasis on ques published has recently tions of embodiment and sensation. He and the sen articles on the posthuman, literary bioaesthetics, films. sation of trauma in superhero quarterquarter

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A Temporal Icon A Temporal Bullet-Time Steen Christiansen

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Iconology Steen Christiansen Steen Volume 10 onwards, it becomes clear that this onwards, The Matrix use of bullet-time, the extreme slowing down of the use of bullet-time, the extreme . Circulated so much as to almost render the bullet-time effect For the term icon, I draw on the work of the self-proclaimed ico For the term icon, I draw on the work of the self-proclaimed I argue that the iconicity of bullet-time comes from the mixing of mixing the from comes bullet-time of iconicity the that argue I effect has become iconic for the way it allows for an intensified spec intensified an for allows it way the for iconic become has effect over speed becomes the control tator position — a position in which counts.two on position, recognizable This is also a central pleasure. and power is rec of control First, placing the spectator in a position strategy of much popular cinema. Second, as ognizable as a favored super-slow, the sensation of experiencing spectators we recognize super- sensation. In this way, because it is a reproducible precisely slow becomes a temporal icon. in his early book Mitchell, who argues nologist W.J.T. the study of images, broadly defined (meaning that he includes ver includes he that (meaning defined broadly images, of study the bal images in his definition of images). He proposes that icons are “not just a particular kind of sign, but images and that images are or charac something like an actor on the historical stage, a presence ter endowed with legendary status” (Mitchell 9). Icons, in other than symbols to be inter more are do things. Their presences words, Actions because imag also actions. they are and deciphered, preted ises do things for us and to us. For bullet-time, this image-action icons are images, pictures, or likenesses (1). Mitchell is interested in or likenesses (1). Mitchell is interested images, pictures, icons are ent narratives, genres, and even media. While the iconographic While the iconographic and even media. ent narratives, genres, content differs, the unfolding of this reproducible. remains content temporal icon, despite the contentHence, it is feasible to speak of a are and recognizability Reproducibility each other. not resembling su and bullet-time and icons of form any to relation in paramount have that in spades. per-slow generally, more Bullet-time, and super-slow and intensity. control position, a position that is re places the spectator in an exhilarating By tracing the development as an action for us and on us. producible of bullet-time from Slow-motion has always been part of cinema’s repertoire, but with always been part of cinema’s repertoire, Slow-motion has The Matrix’s hasand action cinema for iconic became instantly image cinematic in zoom dolly famous Hitchcock’s as recognizable as become tigo incessant accel must consider what, in a time of meaningless, one in relation time mean? Considered eration, can the slowing down of promi gains sequence temporal a icons, of studies most other to differ between translated be can effect its when iconicity and nence quarter

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Steen Christiansen Steen Volume , cinema and the ar 10 The Emergence of Cinematic Time of Cinematic The Emergence Duffy tends to equate speed with rapidity, but as Vivian Sobchack Vivian as but rapidity, with speed equate to tends Duffy Cinema conquered and repossessed time through its ability to time through and repossessed Cinema conquered tural phenomena. Sobchack points out the acceleration of still im ages into moving images was the shock of the new in early cinema, images slowing situation of moving the reverse but that today, Sobchack As (Sobchack 340). prominent more has become down argues, of fast to faster, acclimated to a culture this is because we are which makes slow-motion an attenuation of movement in itself. We to it has become second nature acceleration anymore; do not notice us. Only when things slow down do we notice them. opened up during the early 20th century — the sensation of speed.opened up during the early 20th wholly only the was speed of experience the that asserts Duffy Enda — the ability to move at by modernity new experience engendered to, while also having the sensationa speed one is not normally used of controlling that movement (Duffy 2009, ch.A 1). felt experience of speed, cinema nonetheless serves as than the representation more representations. a node that allows the sensation of speed through in argues her essay “Cutting to the Quick”, slow and fast differ are ent articulations of the category speed (Sobchack 338). What matters historical and cul manifest as concrete is how tempo and rhythm fascination clearly connected to a more general fascination with time more fascination clearly connected to a Ann Doane Mary As it. control and our ability to manipulate and makes clear in Discussing a wide array chiving of time is paramount for modernity. Doane points out that theof technologies and cultural techniques, and rationalizing standardizing late 19th century was obsessed with timemade watches pocket to schedules train from Everything time. Doane, and argues was conquered, external and measurable. Time to do so (Doane 9). cinema was simply one of many technologies which also to time was another dimension time, but there represent paradoxically an intensification of speed, a way of making move central occupa movement felt has been cinema’s ment felt. Making tion since its inception. Cinema and Time the long take is that André Bazin argued is central for cinema. Time crucial to film, Sergei Eisenstein emphasized the use of montage to Tarkovsky called cinema Andrei and timessplice together, different sculpting in time. Early cinema was fascinated by visual change, a quarter

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Steen Christiansen Steen Volume 10 from 1999 represents the first The Matrix rejuvenated the use of slow-motion by speeding time of slow-motion the use rejuvenated are the majestic bullet-time scenes, where ’s power is made the majestic bullet-time scenes, where are A good example is when Neo confronts an on a rooftop Agent on a rooftop an is when Neo confronts good example A Neo’s ability to slow time visualizes his struggle against the ma against visualizes his struggle slow time to ability Neo’s The primary use of bullet-time comes late in the film. Thomas As slow-motion becomes a way of heightening intensity in cine becomes a way of heightening intensity As slow-motion ments and so extends the tension felt in these scenes. At this . and Neo’s attempt at rescuing during slowed down time outside the training point, Neo has never before and so the scene functions as a test of Neo’s abilities. When room, filmed is time of down slowing the Neo, at gun his shoots agent the to emphasize the uncertainty of whether or not Neo will actually succeed. As the bullets fly toward Neo, the camera travels a full machine slavery. While the pinnacle of Neo’s insight and power While the pinnacle of Neo’s machine slavery. the code of the matrix and manipu comes when he can see through by his ability to slowlate it at will, this moment is overshadowed down time while fighting the Agents of the matrix.More than the of moments iconic the screen, the down scrolling lines code trix as is felt by the audience visible and the astonishing super-slow over the environment. Neo’s total control per a narrative trix and underlines his messianic powers. From high tension mo spective, Neo’s time warping comes at crucial, Bullet-Time Despite earlier examples, major film to employ bullet-time, particularly as a significant com bullet- Usedponent sparinglyof butthe effectively, film’s story. time is first introduced briefly in the opening scene which shows Agent of the matrix. an (Carrie-Anne Moss) escaping from Trinity opening but also hints impressive This scene not only serves as an . at what is to come later in terms of pill and joins the the red Anderson () chooses ‘Neo’ to become the humanity messiah who will lead out of resistance ma, it makes sense to examine how such intensity plays out in ac to examine how such intensity ma, it makes sense tion films, a genre whichtrades on intense As sensations. a special cannot slow-motion astonishment, or excess of moment a and effect retain its astonishing effect, but necessarily becomes familiar to us. The Matrix down more than ever before with an effect that came to be known motion. as bullet-time, or super-slow quarter

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Steen Christiansen Steen Volume 10 The iconicity of bullet-time is understandable from this perspec understandable from The iconicity of bullet-time is Paradoxically filmed through the use of still cameras placed in The use of bullet-time increases towards the end of the film and move freely. tive, as the film gives us access to sensations that were hitherto in sensible. While the bullet-time sequences intensify our experience, experience intoeveryday sensory our out of transport us also they an amplified state ofWe excitation. cannot normally see bullets fly through the air nor can we flit about as if we were weightless, but As a a sensation of what this might feel like. bullet-time produces breathtaking and provide spectacular shots that extend beyond the spectacular and provide breathtaking capacities of film cameras. regular these photos were the actors and shooting quickly, around a circle the spectacular to produce then composited in postproduction effects. These scenes produce an interesting double temporality, time stands still (the characters do not move) while simul where and space meld taneously passing (our perspective moves). Time Bullet-time thus taking us beyond human perception. together, appears to transcend both time and space, soliciting sensations in that may subject cinematic a producing and speed mere of excess from below looking up at the rebel helicopter as shells from Neo’s helicopter as shells from below looking up at the rebel from position is humanly impossi machine gun rain down. The camera and the character point-of-view, ble and does not belong to any bullet-time effect lends an epic quality to theA shot. trivial shot is showdown final the Similarly, spectacle. for occasion an into turned but not only employs bullet-time, between Neo and also speed-ups of Neo’s fists, and even more a spectacularly, shot Agent Neo and As still except for the camera. time stands where slows down until it stops com time each other, Smith jump toward be Neo’s side to the two, from The camera swirls around pletely. movements are Agent Smith. Particularly the camera’s circling hind circle around him, simultaneously zooming closer and closer. The and closer. simultaneously zooming closer him, around circle the tension as the image slows down prolongs constant near misses bullets ramps back to normal as two The speed almost unbearably. graze Neo and he falls to the ground. The effect is in excess of nar rative information: it intensifies the scene, while also showing us is increasing. that Neo’s strength qualities. When Neo and astonishing also takes on even more is a shot Morpheus, there free to Agent stronghold Trinity attack the quarter

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was released. was released. (2001), Steen Christiansen Steen (2003), Volume 10 and particularly other The Matrix Swordfish The Matrix is interesting, because it is an adapta is interesting, , a different technique was used. High- used. was technique different a , (2008) began copying the iconic effect for their for effect iconic the copying began (2008) , action films such as film, this signature effect had to be recreated. Charlie’s Angels: Full Throttle Charlie’s Charlie’s Angels Charlie’s Max Payne The Matrix May Payne (2000) and The first use is when Payne attempts to stopOwen Greene from For the per-slow appears sporadically in the film. per-slow left to right in the camera moves from where falling out the window, a slow tracking shot. On the left-hand side, Payne moves towards As the camera tracks past the wall into the air on the other Owen. Owen pulling universe) film’s the in demon (a valkyrie a see we side, Payne’s to The point-of-view changes from the window. through An astonish Owen’s in the moment the camera tracks past the wall. sents an innovative and engaging way of conducting gunfights. sents an innovative and engaging Used far less extensively than in as such films used during shooting and then morphed with speed cameras were onreliance heavy film’s the to due part in Necessary footage. other CG high-speed meant that sets, shooting speed ramping was not possible. Considering the innovation of the game it is somewhat surprising to see how little super-slow is actually used in the film. integration between is no real surprising is the fact that there More su Used only as an intensifier, the story and the use of super-slow. (2006), and quickly Brothers look, Warner own purposes. Due to its distinctive trademarked the term bullet-time, but the effect of slowing down mo to super-slow one refers time cannot be trademarked. Instead, if speed changes within the shot.tion or alternatively speed ramping Out of all of these super- feature to game first the was which game, computer a of tion slow effect, a design decision made before distin shooter with a detective story, The game is a third-person games primarily by the use of super- other similar guished from repre and gameplay the of part is Super-slow gunfights. the in slow new experience, one might find it either elating or sickening but it is it but sickening or elating either it find might one experience, new easily recogniz is visually stunning and unique. While bullet-time sensations it the distinctive iconicity comes from able, I believe its offers. than More recyclable a image, bullet-time is memorable for to duplicate. feel, which, as it turns out, is far harder how it makes us Suspended Suspense Soon after Angels quarter

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to draw out to draw out Steen Christiansen Steen Max Payne Volume 10 Max Payne did, was that there was little under did, was that there The Matrix is not a particularly good film, but it is a good ex Max Payne The problem with using super-slow in the way that most films Super-slow becomes a cheap way for becomes a cheap Super-slow Two scenes where super-slow works in essentially the same man works super-slow scenes where Two immediately after standing of the effect super-slow has on therhythm of the film’s disregarded filmmakers effect, intensity an as solely Viewed pacing. slows narrative the dilates, time As super-slow. of effect dilation the of thrill plenty provided bullet-time narrative, excess of In halt. a to In contrast, and astonishment for the spectator. moments. When Colvin is shot, a surprising narrative at crucial spectacular, astonishing, or narratively poignant scenes. The inher astonishing, or narratively spectacular, the au is exploited to capture ent fascination of slowed-down time in to the game’s service paying lip attention, while also dience’s game ends up as trivial for thenovations. What was iconic for the film. reper has become part of action cinema’s ample of how super-slow While toire. the film hadreason every to make much of the device, its uses of fizzledsuper-slow and never added much to the impact was as translation, in lost was game the of iconicity The film. the of tradition the film so clearly wanted to activate. the genre by the response team sent to help him. Super-slow is employed as Super-slow team sent to help him. by the response the shot is fired and punches through emphasizing Colvin’sbody, him sacrifice to willing is him help to sent team the that surprise the BB Hensley is Payne’s closest for a chance to get at Payne. Similarly, turns out to be behind the drugfriend but in an unsurprising twist the cause of and he is directly experiments to make better soldiers Payne’s wife’s death. When this betrayal is Payne revealed, sees fit to kill Hensley for his misdeeds and the execution is filmed in su to draw out the climactic moment to allow clearly meant per-slow, us to savor the righteous vengeance. ing sequence, the super-slow extends the tension of whether or not extends the tension of whether super-slow ing sequence, the of the in time, combined with the spectacle Owen Payne will reach of su This use out the window. Owen backwards valkyrie pulling example of intensifying the sus a clear-cut is therefore per-slow pense effect. the valkyrie creature of the scene and emphasizing shot. Colvin is a are when Jason Colvin and BB Hensley ner are interrogates Payne and film, the in corporation villain the for crony wife. Colvin is shot of Payne’s about the murder him to learn more quarter

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Max Payne Sherlock Holmes: Steen Christiansen Steen The Amazing Spider- Volume 10 Charlie’s Angels: Full Charlie’s (2009), films, super-slow marks the (2002), and Sherlock Holmes Spider-Man Sherlock Holmes (2011), (2011), (2003), which constantly slows down chase scenes and fightand scenes chase down slows constantly which (2003), (2014). While there are immense differences between Sher between differences immense are there While (2014). For Guy Ritchie’s While slow-motion is inherently fascinating, simply because it is inherently While slow-motion and we see the events unfold in real time. This effect serves two it serves to showcase how fast Holmes’ thinking purposes. Firstly, is, when we see the difference in speed between Holmes’ deduc the contrast between tions and the actions that take place. Secondly, between a contrapuntal relation and full speed creates super-slow sequence sets up what will hap the two sequences. The super-slow pay comes the Then excitement. and anticipation generating pen, off of seeing the sequence at full speed. Thisreplay serves as an neighborhood Spider-Man, the recent adaptations of these two char the recent Spider-Man, neighborhood se super-slow they all employ acters have one thing in common: powers of their protagonist. quences to visualize the superhuman analyz overtime, working intellect superior Holmes’ of sensation Speed they occur. ing and deducing how events will unfold before openings, threats, Holmes sees potential as crawl a to slows almost At this pace, everything becomes clear and the and opportunities. itspectator can follow along with Holmes, getting a sense of what would be like to be as quick-witted as how Holmes. Significantly, back up the outcome, time speeds once Holmes has perceived ever, Man 2 your friendlylock and Peter Parker, sleuth extraordinaire, Holmes, scenes for moments of super-slow. Much like with scenes for moments of super-slow. the in get actually and superfluous mostly feel moments super-slow — full throttle. — precisely way of the expected sensation of Contrapuntal Speed being used successfully of super-slow examples however, are, There in recent cinema, primarily in films featuring protagonists with ex powers, such as traordinary Game of Shadows moment the intensity of the which ends up lessening is protracted, it. increasing scene rather than this slowness can a world we cannot normally see, gives us access to easily feel Using turgid. for super-slow exhilarating action scenes is to pull us along for the meant these scenes are a balancing act, since frus go fast easily becomes more ride. Slowness when we want to trating than intense. Case in point would be Throttle quarter

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Steen Christiansen Steen Volume 10 . 2 The Matrix , where the super-slow sequence comes when super-slow the , where The contrapuntal uses of speed indicate an elastic relation to time The contrapuntal uses of speed indicate an elastic relation An exhilarating contrapuntal thrill comes from this alternation from comes An exhilarating contrapuntal thrill An even more intense contrapuntal time effect is used in motion was always a possibility, it was rarely used as it tended to it was rarely motion was always a possibility, have super-slow the narrative momentum. Only recently disrupt and speed ramping become viable options, in cinema’s quest to al ways find new ways to astonish. Slow Burn I have traced how super-slow has become iconic for action films, As is so often of the genre. yet another addition to the repertoire tion of the world and the perception presented by the film. What make to is doing in succeed films Spider-Man and films Holmes the in audience feel superhuman this disparity felt. They make the sen their own version of superhuman these scenes, and so provide sations, much like we found in time of the No longer tied to a particular corporeal as category. filmmak to second-nature as become has ramping speed spectator, ing as close-ups and long shots. different spatialWile articulations temporal articula aesthetics, cinema’s of part been always have As much as slow- tions have usually been only a matter of editing. which spark and electricity web shooter break shows Spider-Man’s pull speed moments of Spider-Man and full up a metal bannister, and so back to super-slow certain death, ing people away from superpowers, Spider-Man’s as a way of visualizing forth. However, to the scene is also undercranked attacks Electro when Spider-Man play slightly faster than normal. modalities between of three speed: speed,first slower-than-human inten The speed. faster-than-human finally and speed regular then intensi these how reveal and scene this to central are speed of sities our everyday percep the disparity between from more ties emerge intensifier, showcasingintensifier, the difference between Holmes’ perception and our own. 2 Amazing Spider-Man Spider-Man (Andrew Garfield) tries to save people from Electro’s the camera trav acts, Spider-Man out. Before (Jamie Foxx) lashing zooming in on all the points where up the stairs, els in super-slow leaps to as Spider-Man in danger of being electrocuted people are between super-slow, The long take speed ramps save the day. quarter

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Steen Christiansen Steen Volume 10 and bullet-time will forever be conjoined, it is clear that will forever and bullet-time The iconicity of bullet-time and later on super-slow comes from comes from The iconicity of bullet-time and later on super-slow First is the glorifiedrepresentation ofWatching speed. every de This larger shift marks the attenuation of speed as something to beof speed as something to marks the attenuation shift larger This The stylization inevitably involved in super-slow sequences be The stylization inevitably involved in super-slow Super- that feels new. but a repetition comes the safety of repetition, feelus makes and felt time makes us, on and us for action an as slow, of time. in control a compensation for acceleration. Second is the prolonging of the sen is the prolonging a compensation for acceleration. Second it is also a is not only a matter of control, sation of speed. Super-slow desire While for some increased intensity. films employ a contra images, and faster-than-normal puntal contrast between super-slow in all cases we find an interest in intensifying a specific moment, or a certain event. prolonging slow-motion has While mixed with intensity. the feeling of control not only super-slow always opened up a new world of perception, it does so by plac goes further and opens up the world even more, powerful position than previously. ing the spectator in an even more inated across action cinema, speaks of a differentrelation to time. a contemplative pace, we Rather than is tamed in super-slow. Time expressed is which desire a acceleration, for desire kinesthetic a find While it may sound paradoxical that super- in the use of super-slow. for acceleration, as we have a kinesthetic desire slow can express represen — speed for desire of modes two to in ties super-slow seen of sensation. and the prolonging tation of control, mastery over time, it is something tail of time unfold represents of inces its speed. For a culture of, despite in control which we are over speed becomes of control sant acceleration, the representation the case, the device loses much of its meaning as it disseminates loses much of its meaning as the case, the device recy listless only adding sometimes films, of variety wide a across While at other times taking on new scintillation. cled images, and The Matrix its use is visually fascinating, even as motion remains super-slow repetitive. sometimes deplorably slowing down of time to an ex manipulated and exploited. The treme in the way that this temporal articulation has dissem degree, quarter

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Steen Christiansen Steen Volume 10 . Chicago: University The Cinema of Attractions (2012- ). Elementary Century Fox, 2008. DVD. th . Dir. Marc Webb. Sony Pictures Entertain Pictures Sony Webb. Marc Dir. . . Cambridge: Harvard University Press, 2002. Press, University Harvard Cambridge: . The Emergence of Cinematic Time: Modernity, Con Modernity, Time: of Cinematic The Emergence (2010- ) or CBS’ Iconology: Image, Text, Ideology Iconology: Image, Text, . Dir. Guy Ritchie. Warner Bros. Pictures, 2009. DVD. 2009. Pictures, Bros. Warner Ritchie. Guy Dir. . The Speed Handbook: Velocity, Pleasure, Modernism Pleasure, The Speed Handbook: Velocity, Sherlock . Ed. Strauwen. Amsterdam Amsterdam: Uni Wanda . Dir. The Wachowski Brothers. Warner Bros. Pictures, Pictures, Bros. Warner Brothers. Wachowski The . Dir. . Dir. John Moore. 20 John Moore. . Dir. of Chicago Press, 1986. Print. of Chicago Press, Reloaded tingency, the Archive tingency, Print. 2009. Kindle. ham: Duke University Press, 1999. DVD. sis and the Attractions of .” sis and the 2006, 337–351. Print. versity Press, ment, 2014. DVD. True to contemporary media culture’s incessant cross-pollinations, remakes, remakes, incessant cross-pollinations, media culture’s to contemporary True offer. on currently several versions of both characters are there and reboots, versions, not the I only deal with Guy Ritchie’s film For Sherlock Holmes, BBC series slightly slower a camera at term for running is the technical Undercranking back at normal 24 frames per second. When played speed than the standard speed, the image is slightly faster. Sherlock Holmes Physis, and Poie “‘Cutting to the Quick’: Techne, Sobchack, Vivian. 2 Spider-Man Amazing The References Doane, Mary Ann. Enda. Duffy, The Matrix Max Payne T. J. Mitchell, W. Notes 1. 2. quarter

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