The purpose of this thesis is to examine the style of American video artist Bill Viola and identify elements of time within his work that transcend traditional cinematic representation, establishing video as an independent audio-visual artistic discipline. The concept of time is explored through a detailed analysis of the specificities of the video medium, Viola's own writings, and theoretical references from Gilles Deleuze and Raymond Bellour. Viola's work is explained using Deleuze's concept of the crystal image. An analysis of four of his most well- known works reveals that the element of time in Viola's work is evident through the manipulation of the technical aspects of the medium and in themes such as the passage and cyclical nature of time. Additionally, other specific elements characteristic of Viola's work, such as water, sound, and experience, are explained. Ultimately, the thesis demonstrates, with the help of theoretical references, that time is essential to the medium of video art.
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