In many ways the clocks are the least of it.
Take away the clocks and you’d still have a complex, and maybe more mysterious, work.
See the north side of the Bay Bridge in an old film noir, before its current animated lights; we can’t not juxtapose it with a recollection of the current bridge, now with the light array. One of the clock’s basic units: world war once, as in “the war between now and what once was.”
The early morning hours are dominated by people being awakened over and over and over by alarm clocks—often being alarmed themselves because they’ve overslept—and they or the camera then turn to and gaze out of windows.
It’s a kind of narrative that involves cumulative repetition. It’s musical in that the downbeat is the appearance of the clock. The fill is human biological and cultural behavior, the making of a metanarrative that might be called “how/when/where we sleep.”
As in: This bit of narrative is over, and it’s marked by the appearance... More