Open Access (free)
Digital photography and cartography in Wolfgang Weileder’s Atlas

, from the open field that gave its everyday fullness to the real space of the verges of our activities and, as a result, causes disorientation in being-there. The teleobjective proximity of transmission tools thereby considerably alters our grasp of the surrounding environment in which each of us physically evolves. (Virilio, 2010: 80–81) Our horizon line – both temporal and spatial as figured in Weileder’s crossed Seascapes – is distorted by the ubiquitous screens which allow us to zoom in and out of virtual versions of real-times and spaces. So it is, claims

in Time for mapping
From Mary Shelley and Sir John Franklin to Margaret Atwood and Dan Simmons

madness and disorientation, may have added to the horror, but it cannot turn the story of disaster back into an epic myth. What it does is re-enact the paradigm of technological hubris: the expedition has been destroyed by a monster of its own creation. The story offers a variation on the Frankenstein motif, both because the scientists, by digging up the frozen body, seek to revive the past, to quicken it

in Ecogothic

rapid and intoxicating success of this political transformation left many theatre artists feeling disorientated and bewildered. On the one hand, many artists had built their practice around the explicit or implied critique of the communist regime, largely restricted to the alternative theatre scenes, while others, who had worked within the professional sphere, were subordinated to the communist authorities and the censorship of the state. Across this 30 After ’89 deeply complex spectrum from dissidence to conformity, the situation for theatre artists working within

in After ’89

showing the joins to the audience is a process known as suture, invisible or continuity editing and is the most common form of editing within mainstream and commercial cinema. These editing practices are part of the standards and norms established in classical Hollywood narrative. With suture editing, the eyelines of individual characters are matched up carefully, so to achieve a sense of reality and not to distract or disorientate the viewer with technical inconsistencies. Barber.indd 34 3/2/2015 4:14:31 PM FILM FORM AND AESTHETICS  35 Within conventional shooting

in Using film as a source

literary recollection of the artist-soldier’s horrific experiences of trench warfare during the First World War, I explore (following David Lomas) the dissident Surrealist concept of ‘double vertigo’ (a fear of falling downwards and upwards) in order to explore its significance for Sebald’s narrative. Linked inextricably to Freud’s concept of the uncanny, Sebald’s ‘double vertigo’ initiates a number of disorientating and disturbing coincidences between Eros and Thanatos in order to forge a desublimatory critique that is politically and historically motivated. VERTIGO AND

in A literature of restitution
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the fact that they are amplified excessively results in a real so exessive that it becomes abnormal and infernal. What was important to French Nouvelle Vague critics of Cahiers du cinéma in the late 1950s and early 1960s about Fuller’s work is its stylistic extravagance combined with its obscurity, even the absence of any obvious thematic other than one related to that extravagance (disorientation, lack of identity

in Montage
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(eds), Londres y el liberalismo hispánico (Madrid: Iberoamericana, 2011); Jean-René Aymes, Españoles en París en la época romántica (Madrid: Alianza, 2008); Henry Kamen, The Disinherited: The Exiles Who Created Spanish Culture (London: Penguin, 2007). 20 For example: Susan Martín-Márquez, Disorientations: Spanish Colonialism in Africa and the Performance of Identity (New Haven, CT: Yale University Press, 2008); Cristina Álvarez Millán and Claudia Heide (eds), Pascual de Gayangos: A Nineteenth-Century Spanish Arabist (Edinburgh: Edinburgh University Press, 2008

in Spain in the nineteenth century
The Discoverie of Guiana

out of the ­slippery labyrinth that is the Discoverie: one reading demands that we view Ralegh as a self-conscious poet unjustly punished for his imaginations without material proof (the title page in fact tells of feats ‘performed’); the other that we plot him in a neat teleology, one bend in the mighty river of history that culminates in the British Empire. Critical interpretation, like Ralegh himself, slips away like water held in a hand. What are we to make of Ralegh’s fluvial text, its numberless disorientations, the fluidic stage it creates? Rather than

in Literary and visual Ralegh
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condition and might try to contextualize it in the ‘male’ arena of war. By transferring his illness experience into a military context, he associates his experience with neurasthenia with valor and duty as opposed to hysteria and weak-mindedness. The sufferer is heroic in his struggle with mental illness, not frail and unable to cope with the demands of life. Andreev’s exploration of mental illness is thus conveyed through narrative fragmentation in which time and space are confused, underscored by the depiction of sleeplessness, resulting in disorientation, exhaustion

in Degeneration, decadence and disease in the Russian fin de siècle

fetish, and their meanings expand. Most of all, the Goodis signature is the sudden and disorientating image that creeps up on you, and tatoos itself into the narrative. (Goodis 1983 : ix) Beineix’s version of Goodis’s world depends to a large extent on striking images, some of which are changes to the novel. For example, Gérard gives

in Jean-Jacques Beineix