Sheets of Past and Peaks of Present: How the Order of Time Enters the Image

The whole past is preserved at once yet stratified by degrees of contraction, tone, theme, and points of brightness. Recollection does not retrieve fixed data from storage; it selects a sheet and actualizes recollection-images within it.[1, pp. 98–99, 105–110][2, pp. 152, 162, 168–169]

Citizen Kane lets each witness open another sheet of past. Every sheet provides real material, while none totalizes Kane; Rosebud cannot close the life into a single explanation. Depth of field performs a search, making the actual image a space of access to the virtual past.[1, pp. 105, 110–111, 115–119][3, pp. 79–120]

In Last Year at Marienbad, the encounter has already happened, has never happened, and is taking place for the first time. Repeated shots do not return to an original event; they distribute different presents across figures, speech, and space.[1, pp. 101, 106, 108, 122, 124]

Rodowick treats this structure as time reorganizing narrative truth. Peaks are not successive hypotheses but simultaneous de-actualized presents; analysis must keep versions parallel rather than select a winner too early.[3, pp. 79–120]

Muriel moves the Algerian War past across rooms, furniture, broken speech, and abrupt montage. The characters cannot restore the fragments to a stable chronology; distribution of the past organizes the image before action can explain it.[1, pp. 121, 123, 125][4, pp. 151–156]

The Dangmai long take in Kaili Blues contracts search, former relations, future premonitions, and spatial traversal into one present. Marking how past and future anchors modify current action tests whether the passage forms sheets, peaks, or a transition between the two orders.[4, pp. 151–156]