On top of this, I would contribute that, in the realm of popular music, the modern experience of time was ushered in on July 25, 1965, at the Newport Folk Music Festival in Newport, Rhode Island. This might be the reason why nothing seemed to happen in those stories: we may still remember the uproar of the spectators who attended the premiere of Jean-Luc Godard’s Alphaville in Madrid, who were lured by the reputation of its protagonist, Eddie Constantine, but encountered a plot that was impossible to decipher. As in the films of Orson Welles and those of neorealism or the French New Wave, adversity is so great that no hero can put the world back together again as Hamlet did, albeit at the cost of his own life.
In contrast to the action films, where the hero always managed to restore the disrupted order, a type of cinematographic narrative emerged.
In physics, the modern conception of time arose in the 17th century, but in philosophy it did not prevail until the following century, and the same revolution did not reach the cinema until the 20th century. The French philosopher Gilles Deleuze argued that modern times did not begin at the same time everywhere and in all domains.
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