33/365 - February 2, 2012
The cinema (like photography) has a privileged relation to time, preserving the moment at which the image is registered, inscribing an unprecedented reality into its representation of the past. This, as it were, storage function may be compared to the memory left in the unconscious by an incident lost to consciousness. Both have the attributes of the indexical sign, the mark of trauma or the mark of light, and need to be deciphered retrospectively across delayed time.
—Laura Mulvey, Death 24x a Second
