Sightlines · a concept

the genetic chronosign

the *third* chronosign beyond sheets-of-past (order) and peaks-of-present (series): time as becoming, i.e. the as the genetic principle of time.

On screen: time as the productive power of the new/false. ⚠ Deamer's label; do NOT double-count with `powers-of-the-false` — `genesign` is that concept seen as the genetic chronosign

• Bugsy (1991) — The closing coda: the desert site he envisioned actually becomes Las Vegas — time as the productive power of the new, the false vision generating the real future after his death
• Dark City (1998) — Murdoch's final tuning makes a real horizon from false materials — the false working as the productive power of the new
• Confessions of a Dangerous Mind (2002) — Barris's life is generated in the act of telling rather than remembered — the confession produces the new/false on camera, time as the productive power of the false.
• Django Unchained (2012) — the soundtrack's temporal friction — Rick Ross, John Legend, hip-hop layered over Morricone's spaghetti-Western cues — time itself made audible as the productive power of the false
• Once Upon a Time... in Hollywood (2019) — The rewriting of August 9, 1969 as time used as a productive power of the new — two coexisting Augusts, the past made newly possible
• Dune (2021) — The premonitions are undecidable — prophetic or merely possible, never sorted — staging time as the productive power of the new/false rather than predicted future