Metonymy in the moving image: Multichannel cinema

Metonym in the Image: Multichannel Cinema, attempts to establish the fractured screen film form (variably called "split-screen," "picture-in-picture," "macro-cinema," "expanded cinema") as a distinct and important movement within cinema. Drawing from extensive art practice experience in multichannel film (see www.GARhodes.com), in this thesis Geoffrey Alan Rhodes analyzes the viewing experience of multichannel cinema in terms of semiotics and Deleuzian film theory. Rhodes begins with a survey of the different multichannel mediums: video games, computer windows, traditional and experimental film, and then centering on the feature film and Peter Greenaway's The Pillow Book. The feature film becomes the object of analysis, and specifically a critical comparison of the single channel narrative film form and the multichannel.;The basic difference between forms, the replacement of shots in single channel as opposed to the contiguous arrangement of shots in multichannel, is put into terms of space and time. Here an interpretation of the importance of these differences is given in terms of Henri Bergson, via Gilles Deleuze, and a direct comparison is made between the multichannel form and Deleuze's Time Image cut. (Abstract shortened by UMI.)...