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Don Fairservice

. This disorientation is reinforced with the next cut, a repeat of the first, in which Ben raises his head and looks off to camera right – upstream – as it were. The intention is quite clear – Ben is watching the children. A return to the shot of the children shows them crouching to the left of the path and covering their heads with the sheet; four black children follow up the path and stop on seeing the ghostly, sheeted mound

in Film editing: history, theory and practice
Douglas Morrey

screen of branches through which it is seen, gives the disorientating impression of taking off even as it is landing (Bergala 1999 : 93). For Godard, this energy that, for Weil, is associated with grace, is manifested first and foremost in the form of light . Jean Douchet has noted, in Passion , but already in Alphaville (1965), the importance of light as a kind of pure energy, ‘dont la seule raison d’être est d’être de

in Jean-Luc Godard
Abstract only
The Innocents (1961)
Neil Sinyard

image of the face at the window. The children’s mocking laughter, with its echo amplification, heightens the governess’s sense of disorientation. Also, how can you convey visually that the ghosts are after the children? The shot of Quint at the window achieves this, I think, but it is reinforced by the fancy dress scene that follows, where Miles’s recitation, both in terms of thematic material and

in Jack Clayton
Post-war French polar, from Becker to Corneau
Philippe Met

as a both physical and symbolic transition to an enhanced, albeit stoic, sense of alienation and isolation that Charles no longer proudly, if privately, claims as his own, but now finds thrown upon him – to the point of disorientation once he gets off and ascends a stairway to discover with bemused eyes16 the panorama around him against a soundtrack of atonal music: a vast housing complex with areas still under construction. A street sign indicates that the site is ‘Sarcelles Lochères’,17 north of the capital, in the Val-d’Oise département. Charles’s inner thoughts

in Screening the Paris suburbs
Abstract only
Victoria Best and Martin Crowley

disorientation of the haptic, but rather in the less dramatic, more tender dimensions of Breillat’s aesthetic. Pre-eminent here is the attention paid by Anatomie de l’enfer to marks on the skin. When Casar’s character first undresses for Siffredi’s, she sits with her back to the camera, showing the ghostly, more or less red imprint of the bra she has just removed. Breillat holds this shot for long enough for us to register its layers

in The new pornographies
Thinking infantile eroticism
Victoria Best and Martin Crowley

curious, audience. Hence the readerly sense of disorientation when, after a lengthy passage detailing the painful aftermath of her affair, Angot writes that ‘Ecrire, c’est peut-être ne faire que ça, montrer la grosse merde en soi. Bien sûr que non. Vous êtes prêts à croire n’importe quoi’ ( 1999 : 177). [‘Writing is perhaps nothing other than that; showing the great pile of shit inside oneself. But of course it’s not

in The new pornographies
Martin O’Shaughnessy

virtuosity expressed in repeated clashes of genres and disorientating stylistic diversity. Early sequences offer stark contrasts between brilliantly lit, luxurious interiors, swirling nighttime crowd scenes at the airport and daytime shooting of Jurieux’s high-speed car accident. The hunting sequence generates its ferocity through an accelerating spate of rapid cutting that is completely unlike the rest of the film. In interior

in Jean Renoir
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Intimate constructions of a ‘bonheur collectif’
Julia Dobson

connotations of progression or flashback are upset. Such formal, temporal disorientations contest the public discourses of regeneration through an assertion of the continuities of time and space, and a sense of social habitus, the cherished bonheur collectif remembered by the tenants, is projected beyond the destruction of the physical environment. 11 Despite its challenges to conventional narrative

in Negotiating the auteur
Parameters of Jewish identity
Joseph McGonagle

effective in connoting a sense of panic and terror. His Parameters of Jewish identity 157 combination of short takes and fast editing, along with the recurrent use of handheld cameras, creates a more visceral sense of disorientation, which is accentuated by the frequency of mid-level shots that relegate actors’ faces off-screen. Later, however, while the children reside alone at the camps, viewers witness a series of acts of kindness towards the children from local people, which may recall aspects of La Rafle. These include women passing apples to children through the

in Representing ethnicity in contemporary French visual culture
Representations of Marseille
Joseph McGonagle

depicted France as a hexagon with images of Marseille inside: an apt metaphor for their vision of France as a self-contained space, impervious to the outside. Aversion to the disruption of internal and external borders can also be witnessed in the figures of Michèle and Gérard: the latter tells Paul that Michèle’s abortion was so traumatic that it led to their separation because the sight of so much blood repulsed him. The event scarred the two for life and furthers the impression that this society in Guédiguian’s Marseille is psychologically damaged and disorientated

in Representing ethnicity in contemporary French visual culture