Dal ponte del Potëmkin. Il tempo anacronistico delle immagini in rivolta

Georged Didi-Huberman recently devoted an extensive study to Ejzenstejn’s Battleship Potëmkin, and hesomehow took the movie as the possible starting point for a visual history of contemporary protests. Moving from its analysis, the essay intends to examine a specific passage within the film in order to formulate a hypothesis on the anachronistic temporality of images in revolt. As a matter of fact, the act of imagining the future that the sailors perform on the deck of the ship seems to suggest a convergence of plural times, where the idea of a future 'otherwise' emerges.