the human body, whereby it is rendered weightless. This produces a tempora-
lity of movement modulated by the under-water weightlessness, which again is
overwritten on a secondary level by the temporality created in post-production.
Still, the initial logic of movement of the weightless body in water continues to
be present in this palimpsest, though it is overwritten by the performative danc-
ing of the body to the music.
In ordinary slow motion, time is set aside and overruled, in favor of laying
out the spatiality of a movement, which in its normal tempo is hard to appreci-
ate in all its detail. This can be observed in the spatial dynamic of facial emotion,
as explored by Bill Viola in a number of art videos, or in exploding buildings in
blockbuster movies or in the music video to Fatboy Slim’sGangsta Trippin
(Roman Coppola), or in fight scenes in a film likeThe Matrix. Thus, if the
spatial tends to be privileged (over the temporal) as the original temporalities
are sacrificed in ordinary slow motion, inOnly You, a new temporality per-
formed in post-production gets to trump and dominate the original temporal-
ities which are still perceived deeper in the palimpsest. Thus, the originary
temporal dynamics of the profilmic bodies inOnly Youare partly subdued,
not so much in order to bring forth spatial details, but predominantly in order
to bring forth an alternate temporal dynamics performed by a master puppeteer
who eloquently demonstrates how rhythm is the essence of emotional expres-
sion. This situation can, for example, make it difficult to assess how fast the
movement represented in the slowed-down format really would be were it not
slowed down. The location of the characters, floating in mid-air in a back alley,
furthermore operates to alienate the movements from its origins.
InThe Rise and the Fall, mutable temporality is employed to produce par-
allel temporalities, as well–those of the frozen and of the moving characters. In
principle, this can also be regarded as a form of what I, with reference toStreet
Spirit, have calledhybrid temporality, allowing irreconcilable temporal worlds to
co-inhabit the same photographical picture frame as if it were showing a single
world. Of course, such a world could not exist to be filmed and its filmic image
may therefore be assigned to the category ofthe impossible image, not because of
the spatial breaches as to how the world appears (which initially inspired this
term), but because of its temporal breaches. Ifthe spatially impossible imagevio-
lates what is spatially possible, thenthe temporally impossible imageviolates what
is temporally possible. The sense of the impossible also looms more or less
strongly under vocal performances overwritten by the Auto Tune effect. In the
case of Craig David, the effect seems moderately used, but it still makes the
vocal output a palimpsest, and also a hybrid, where man and machine are both
featured, in a singing cyborg that merges Craig David and his machines.
On a more general level, these examples illustrate how post-production pro-
cesses now often endow photographical images, or recorded voices, with a ra-
170 Arild Fetveit