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Multiple camera angles are used to deconstruct the space as well as time, so each time we revisit the passage of play, it is the same moment of time presented from a different perpective. It does seem rrather overstating the case to call the slow-motion replay in a spoting event a synchronic deconstruction, and yet it is undeniable that something is happening to our sense of time when these 'sub-texts' are presented. Threre is this compulsion to analyse when we witness the slow motion - we are being told that this is a moment of significance and worthy of closer, slower examination. The telecast itself takes such interruptions and rather than losing the sense of the immediacy of the images actually strengthens that sense. 英語できるかた宜しくおねがいします。

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カメラのマルチアングルは、時間と同様に空間を分解するために使用される。撮影された動きの経過を後で見てみる時、それぞれの場面は、異なったところから見た同じ瞬間の場面です。 ある場面を同時的に分解するためにスローモーション再現して見ることは、むしろこのことを誇張しているようかもしれないが、これらの“異なった場所から撮影した動き”が一緒に見られる時、我々の時間感覚に何かが起こっていることを否定できない。 我々がスローモーションをみる時、分析せよとのこの強制を受ける‐我々は、スローモーションは、より接近し、より時間をかけた吟味をするという重要で価値あるものであると語られている。 テレビ放送それ自体はこのような分析作業による中断を伴う。でも、映像の即時性感覚を失いというよりは、むしろ実際には即時性感覚を強めることになっている。

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