in Film modernism
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The cited images and sounds of Histoire(s) du cinéma are both random and ordered. They seem random because their relation to each other is obscure, distant and unpredictable. They seem ordered because there are themes, configurations and regularities, filled with semantic possibilities, that invite interpretation and codification yet frustrate the attempt to do so, because the regularities are tenuous and unstable, in constant transformation.

Any random series can become constrictive. Networks of associations form, necessarily, no matter how ungovernable they may appear. In Histoire(s), because signs multiply and proliferate in abundance, they become dense and opaque.


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