The characters' attempt to assign time a linear narrative, in spite of its nonlinear nature, results in the dissolution of meaning in which the past functions as a self-‐
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[PDF] 12 Monkeys - Raindance Film Festival
27 jui 1994 · logo of twelve monkeys holding hands in a circle Over it is written That would explain the bruises, I guess Army of the Twelve Monkeys?
de La Jetée à 12 Monkeys - Érudit
Les scientifiques de La Jetée administrent de mystérieuses piqûres aux cobayes humains pour les expédier ailleurs dans le temps Il n'y a aucune explication sur
Time Travel, Film and Ecological Agency in 12 Monkeys - CORE
would be otherwise only dimly perceptible For example, at one point in the film, 12 Monkeys juxtaposes a scene from an undisclosed subterranean location in
[PDF] Philip Krachun - Rutgers Writing Program
intrinsic meaning 12 Monkeys What is a picture but a Photographic Meaning,” Allan Sekula states that “The photograph is imagined to have a primitive core
[PDF] Time & Hyperreality in Twelve Monkeys - Emergence
The characters' attempt to assign time a linear narrative, in spite of its nonlinear nature, results in the dissolution of meaning in which the past functions as a self-‐
[PDF] 12 Monkeys Episode Guide - Project Splinter
21 mai 2017 · Summary: Cole's search for information about a mysterious organization known as the Army of the 12 Monkeys leads him to a mental institution
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TwelveMonkeysrealandthesimulatedbecomesynonymous.The"originalessence"ofrealityislost.Realitycontinuestofunctionontraditionalideologies,yettheseideologieshavebecome"defunct"and"emptyofmeaning."Inordertoreestablishmeaningandcometoanunderstandingofrealityinrelationtothe"events,persons...ideologies"thatcomposethereal,itisnecessarytoturntothepastinsearchofsomekindof"retrospectivetruth"(Baudrillard,310).TwelveMonkeytakesplaceinanerawhererealityhasreachedthepointofhyperrealityandlauncheditselfintoanimplosivestateofreversal.Humankindhasretreatedundergroundandrevertedtopseudo-Industrialeratechnology.Inthefilm'sopening,JamesColeispresentedasacharacterthatexists"inatotalsimulationwithoutorigin,past,orfuture."TheopeningsceneofColeawakinginhiscage - oneamongrowsandrowsofidenticalcagesfilledwithotherhumans - portrayshimasa"volunteer"destinedtofulfillapurposepreordainedbyaforcegreaterthanhimself.Afterbeingselectedtovolunteer,Coleisplacedbeforeapanelofscientistswhoexamineandinterrogatehim.TheoverlysynchronizedmotionsoftheguardsthatleadColeintothissettingimplythattheyaremoremechanicalthanhuman;thescientistsalsoappearintegratedwithmachinery,astheysitsurroundedbyvariousinstruments,almostcompletelyobscuredbytechnology.Thescientists,guardsandtheopticstructurethathoversaboveCole,seemingtorecordandobservehismovements,alloperate"likeahugesimulatedandsynchronousmachine."InCole'sworld,humanityhasbecomemechanizedinordertoachieveaspecificendgoalinthemostefficientwaypossible.Cole'sexistenceisoneofutility,notindividuality.Individualismhasperishedattheexpenseofutility;humansocietyhasreachedthe"saturationpoint"ofutilitarianism(310).Thissaturationpointhaspromptedareversal:thesystemmust"evolveimplosively"byreturningtothepast(311).Byinvestigatingthepast,thescientistsendeavortofindinformationthatwillallowthemtocreateabetterfuture.Theyhopetoachievethisbyretracingthecourseofhistoryinordertodevelopabetterunderstandingofthepresentintermsoftheoriginandcourseofthediseasethatforcedhumanityunderground.ThoughModernitypresentstimeasalinear,continuoussequence,"ourexperienceoftimeismuchmorediverse,createdbytheintersectionofmultipletemporalities."Timeisnonlinear,andthereforecannotbereversedorretracedinasimplisticmanner,asthescientistsattempt.Lineartimeis"modernity'sowninvention,"anattempttorationalizeexistencethroughtheapplicationoforder(JoannaPage,"RetrofuturismandReflexivityinArgentineFictionFilm:TheConstructionofCinematicTime,"8).However,Modernityonlyfunctionssofar;itisdoomedtoreacha"saturationpoint,"fromwhichtheonlydirectiontogoisdown.TimeinTwelveMonkeysisnonlinearandself-reflexive;anindividual'sunderstandingoftimeconsistsof"multiple,retrogressiveandcriss-crossingtemporalities"thatcohesivelyformthepresent(8).Coledemonstratesthelackofdefinitivebordersbetweenthepast,presentandfuture.WhatColeaccomplishesinthepasthasadirecteffectonthepresent,justaswhatheseesinthepastendsupdictatinghisfuture.Coleiscontinuousunabletodistinguishthereal(thepresent)fromsimulatedreality(thepast).Hisunderstandingoftheworldcrumblesashistimelinebecomesincreasinglymixedupduetomultipletripsbetweenthepastandpresent.The"poly-chronic"natureoftimesubvertstheimplementationoflinearorder;past,presentanddreamaretangledupinoneanother.WhenColeattemptstoimposeorderanddivisionontheseentitiesbyreconcilingthemwithoneanotherandforcingthem
TwelveMonkeystothepointofsimultaneousconvergence,heendsuppropellinghimselftowardshisowndeath.Cole'srecurringdream,apost-traumaticflashbackofapastexperience,istheguidingdoctrineforCole'sactionsduringhispursuitoftheArmyoftheTwelveMonkeys.Thedreamsequenceasarecurringmotifservestocontinuouslydismantlerealitybydisruptingthe"illusionofcontinuity"oftheplot'sprogression(Page,8).ThetemporalspaceofCole'sdreamisneitherpastnorpresent;byinsertingitbetweeninstancesofCole'spresentandpast,Gilliamdemonstratesthattimeoperatesonamultifacetedlevelwhichismuchmorecomplexthanthepast/presentdivision.Cole'sdreamoriginatesinthepast,asavoyeuristicexperienceofhisownlaterdeath.ThedreamthentranscendsModerntemporalitybyresurfacinginCole'spresent.Colecannotexperiencethepresent,becauseheconstantlydefineshispresentbywhathasoccurredinthepast.Throughoutthefilm,Coleinterpretshisdreamasapremonitionofthefuture,andisdriventowardstherealizationofthedream'sevents.Inotherwords,aseriesoffragmentedimagesfromthepastbecomesthedrivingforcebehindallofCole'spresentactions.Hedesperatelyseekstomakehisdream - ahallucinationofthepast - becomereality.Likethescientists,Coleusesthepastasareferencepoint.Byreconcilingthepastwiththepresent,Colebelieveshecanformabetterunderstandingofhisexistencebycreatingalinearnarrative.However,hisattempttodosoisfutile;thenonlinearnatureoftimeundermineslinearmeaning.Cole'sattemptedreturntoModernconceptionsoftimeandsignificanceresultindeath:theyarenolongerattainableideals.Byattemptingtoreturntothepast,thescientistssetbackintomotiontheveryevolutionaryprocessthatleduptotheirpresentstateofreversion.JustasCole'sattempttoconsolidaterealitythroughrealizinghisdreamleadstohisdeath,thescientists'attempttoassignnewmeaningtorealitybyinvestigatingthepastleadstotheirfuturedemise.Moreover,thescientistsandColeseemtohaveahandingeneratingtheeventsofthepastthroughtheirinterferenceinthepast.Cole'spresenceinthepastcouldhaveinsomewaypromptedthedestructionoftheworldthroughhisinfluenceonDr.Railly,andindirectlyonthemanwhoreleasedthevirusaroundtheworld.Theresurgenceofthepastintermsofitsinfluenceonthepresent,aswellasthepresent'spre-occupationwiththepastdemonstratethattimeisunrestricted,reflexiveandambiguousinmeaningorendgoal.TimeseemstofunctioninthefilmasaclocktickingdowntothehourofCole'sdeath;yet,eventhisiscontradicted,asthefilmcontinuesafterhisdeathbeforefinallyreturningoncemoretothedreamsequenceflashbackofColewitnessinghisowndeath.Thedreamsequence/hallucinationasfoundedinrealityyetsimultaneouslyestrangedfromitistheonlydefiningfactorofCole'sexistence.Itishisreality,themodelofhisreality,andhissimulation.BygivingCole'sdreamthepowertotranscendthetemporalboundariesofpastandpresent,Gilliamachieves"aneffacementofthetemporalitiesthatseemedtogovernanolderperiodofmodernity"(8).Temporalexistencecannotbeordered;allorderimposedonhumanexistenceisaconstruct.TheideologiesofModernityfallflatinpostmoderntimesbecausetheywereformedaroundchaostogivetheillusionoforderandcontrol.Gilliam'sfilmservestodeconstructthisillusionbyportrayingorderedtimeasaserieshallucinationsleadinguptonothing,resultingatbestinthefinalityofdeath - butnevermeaning.
TwelveMonkeysCole'sexistenceinthepastisafictitiousonebecauseitfunctionsontheprincipleof"thedouble."Baudrillarddefines"thedouble"as"artificialreplicationorimaginaryduplication"ofthereal.Cole'sexistenceinthepastisnotreal;hisrealexistenceoccursinthepresent.Hispresenceinthepastisadoubleofhispresenceinthepresent.Likeanactoronscreen,Cole(initially)playsthepartlaidoutforhimbythescientists.Heisasimulationofthereal,removedfromreality;however,inhyperrealitytherealandtheimaginedareindistinguishable."Thereisnomoredouble,"asthereisnooriginaltobedoubled(Baudrillard,312).Inhyperreality,everythingisacopyofacopy.Colelooseshisgrasponrealityduringhismanytripsbetweentimeperiods,becausehehasnooriginaltorefertowhenevaluatingthedifferencebetweenhisrealandfictitiousexistences.Hislifeseemstotakeonmoresubstanceinitsfictitiousstatethanitsreal;farfrombeingapieceofmachinerytrappedinacage,fictitiousColeleadsalifewithmeaninganddirection.Thishoweverisparadoxical:themeaninganddirectionarepre-determinedbythescientistsoftherealCole'spresent.Lostinhyperreality,Coledemonstratestheconfusionofanerawheresimulatedrealityisasgoodasactualreality.Cole'straversingoftemporalboundariesandhisconfusionoverwhichtimeperiodtodefineasrealdemonstratesthat"thereislittletoappreciateabout'actuality'thatwasever'actual'inthesenseofbeing'ofthemoment'"(Page,8).Inhyperreality,actualrealityandactualtimeareirrelevant.Intheend,Colechoosesfictionoverreality,announcinginhistelephonecalltothescientiststhatheis"notcomingback."Indoingso,Coledemonstratesthatinaworldofsimulacra,subjectiveperceptiondetermineswhatisreal.Sincetheoriginalrealhasbeenlost,thedistinctionbetweenrealityandfictionisnolongerdefiniteorrelevant.Whereasfictionhasservedasareflectionofreality,thereisnomorerealitytobereflected.Inthepostmodernera,"thereisneitherfictionnorreality - akindofhyperrealityhasabolishedboth."Fictiononcestoodasmirrortoreality;realityhascometoreflectfictionbyactualizingtheimaginedprojectionsofutopia.Wecannot"move'throughthemirror'totheotherside"andfindtheoriginal,inwhichmeaningisrooted(Baudrillard,312).Theoriginaldoesn'texist;fictionhasbecomerealityandviceversa.ColeandRailly'sresponseandimitationofHitchcock'sVertigo(1958)demonstratetheextenttowhichfictionandrealityhavebecomesynonymous,yetdevoidofmeaning.Rightbeforeheadingtotheairport,Coleandstopatamovietheatertodisguisethemselves.WhilewatchingVertigo,Colereflects,"It'sjustlikewhat'shappeningwithus"(Gilliam,TwelveMonkeys).Vertigoisanexampleofaworkoffictionmeanttoreflectrealityinanimaginativeway.However,Colefindsthemoviesouncannilysimilartohisstateofrealitythattheparallelismbetweenthetworendersthemnearindistinguishable.VertigoisrealizedbyColeandRailly:fictionbecomesreality.ColeandRaillysimulateVertigo,whichisitselfasimulationofreality.Thepointatwhichrealitysimulatesfictionrepresentsthepointofhyperreality.Thereisnomodel,noorigin,nopastorfuture;onlyevents,peopleandideologieswhichseemtodictaterealitywithoutassigningitanyrealmeaning.ColeandRailly'sreenactmentembodiestheendeavorto"reinventtherealasfiction,preciselybecausetherealhasdisappeared"(Baudrillard,311).ThisreinventionisemphasizedbytheplacementofthemusicfromVertigo.Thetransitionfromthediegeticsoundofthemusicinthemovietheatertothenon-diegeticsoundofthesamepieceof
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