A study of the hyper-lapse system

Abstract

This study seeks to explore how far a photographer can push the manipulation of time and space within the confines of a non-­narrative film. Gilles Deleuze discusses the “images of time” and how time and montage together constitutes a “principle act of cinema”. Skakov defines montage as a “process in which reality is fragmented and then reorganized into a dialectical framework”. The hyper‐lapse is a montage in essence, one that does not break but bleeds visually from one shot to another. This study investigates how this uninterrupted visual can “bleed” across frames, time and memory.--From Research Goals