On/Off: Gone Girl Gone

gonegirlartefact

By showing as the final image of GONE GIRL a mere variation of its first Fincher also seems to comment on digital cinema as such. Opening and ending can be regarded as a simile of the unstable electronic image which, as Yvonne Spielmann puts it, „is best understood as transformation image“ since it only consists in a constant flow of signals.

It took a whole film for the subtle transformation between opening and final image. The two shots of Rosamund Pike are like one morphing digital image with a refresh rate of 2 hours, 23 minutes and 44 seconds. And what we can say about the disappearing and reappearing female protagonist of Fincher’s crime story may also serve as a paradox motto for the ambivalent digital medium per se:

She was never gone.

She was never here.

///

See also: https://schnittstellen.me/vortrag/immanenz-hochauflosend-high-definition-undals-entstellung/

Kommentar verfassen

Trage deine Daten unten ein oder klicke ein Icon um dich einzuloggen:

WordPress.com-Logo

Du kommentierst mit Deinem WordPress.com-Konto. Abmelden / Ändern )

Twitter-Bild

Du kommentierst mit Deinem Twitter-Konto. Abmelden / Ändern )

Facebook-Foto

Du kommentierst mit Deinem Facebook-Konto. Abmelden / Ändern )

Google+ Foto

Du kommentierst mit Deinem Google+-Konto. Abmelden / Ändern )

Verbinde mit %s