Search results

You are looking at 91 - 100 of 115 items for :

  • disorientation x
  • Manchester Film Studies x
Clear All
Abstract only
The Innocents (1961)

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

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
Touch/cut

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

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

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
Abstract only
Intimate constructions of a ‘bonheur collectif’

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

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

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

properties. Super 8mm film was used extensively within experimental cinema of the 1970s for financial and aesthetic reasons. This is Marker’s first use of such film. The colour footage has a hazy quality in which everything appears a little uncertain, and the mobility of the handheld camera adds disorientation to this along with a sense of claustrophobia from filming within the embassy rooms. Although we see the refugees, albeit in

in Chris Marker

with a hole cut out of it where Bosnia Herzegovina used to be, which is spread out on the floor of one of the rooms. This fragmented view of the refugees’ broken environment, accompanied by the absent homeland symbolised through the ruined map, gives a material sense of the devastation, disorientation and loss that informs the personal accounts from individuals throughout the film. When we do see a shot of the exterior of the

in Chris Marker