This article discusses Michel Serres's topological thinking and his approach to space and time from a film studies perspective, specifically looking at connections between Serresian philosophy and the work of Christopher Nolan, using Dunkirk (2017) as an example of folded time. The article provides a selective overview of Serres's topological thinking, which opposes a geometrical approach to space and time, as well as indicating connections between Serresian thought and film studies more broadly. Serres makes frequent use of visual metaphors that rely upon motion, which means discussing Serres's philosophy in relation to film can be a purposeful way to make sense of his topological thinking about spatialized time. Serresian philosophy can bring new ideas to film studies while discussion of Serres's thinking from a film studies perspective can help to visualize some of his philosophical ideas. The article considers similarities with, and distinctions from, Gilles Deleuze's understanding of time in cinema, which is modelled on the work of Henri Bergson. One essential difference is that Serres approaches topological time in relation to space whereas Deleuze only considers topological aspects to time through the virtual qualities of the non-spatialized time-image. Key aims of the article are to contribute to film studies through the application of Serresian thinking in relation to Dunkirk as well as offering a new approach to the recurrent themes of space and time in Nolan's work. The main objective is to present Serresian topological thinking as an alternative approach to space and time in film studies, which includes the capability to potentially complement or enhance ideas developed by Deleuze and Bergson. In keeping with Serresian philosophy this article pursues a new way of thinking about folded time in relation to film, based upon exploring new territory and synthesizing ideas rather than attempting to present a universal argument.

中文翻译：

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米歇尔·塞雷斯，克里斯托弗·诺兰的《敦刻尔克》中的拓扑和折叠时间

本文从电影研究的角度讨论了米歇尔·塞雷斯的拓扑思维和他对空间和时间的处理方法，特别是使用敦刻尔克来探讨塞雷斯哲学与克里斯托弗·诺兰的作品之间的联系（2017）作为折叠时间的一个例子。这篇文章选择性地概述了塞雷斯的拓扑思维，它反对空间和时间的几何方法，并更广泛地指出了塞雷斯思想与电影研究之间的联系。Serres 经常使用依赖于运动的视觉隐喻，这意味着讨论 Serres 与电影相关的哲学可能是一种有意义的方式来理解他对空间化时间的拓扑思考。塞雷斯哲学可以为电影研究带来新的思想，而从电影研究的角度讨论塞雷斯的思想有助于形象化他的一些哲学思想。这篇文章考虑了与 Gilles Deleuze 对电影中时间的理解的相似之处和不同之处，后者以 Henri Bergson 的作品为蓝本。一个本质的区别是，Serres 处理与空间相关的拓扑时间，而德勒兹仅通过非空间化时间图像的虚拟性质考虑时间的拓扑方面。本文的主要目的是通过将 Serresian 思维应用于电影研究敦刻尔克，并为诺兰作品中反复出现的空间和时间主题提供了一种新的方法。主要目标是将塞瑞斯拓扑思维作为电影研究中空间和时间的替代方法，其中包括潜在地补充或增强德勒兹和柏格森提出的想法的能力。与 Serresian 哲学保持一致，本文寻求一种思考与电影相关的折叠时间的新方式，基于探索新领域和综合思想，而不是试图提出一个普遍的论点。