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Representing people of Algerian heritage

) assertion that: The recesses of the domestic space become sites for history’s most intricate invasions. In that displacement, the borders between home and world become confused; and, uncannily, the private and the public become part of each other, forcing upon us a vision that is as divided as it is disorientating. Representing people of ­Algerian heritage 95 As here, it is in the home that the ‘unhomeliness … of extraterritorial and cross-cultural initiations’ (Bhabha 1994: 9) makes its presence felt. The quality of the video also adds a further sense of authenticity

in Representing ethnicity in contemporary French visual culture
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’ai suivi carrément et fidèlement l’action de mes interprètes, et il me semble bien que le public n’a pas été désorienté’ (Frank, 1939 : 5). 11 Whereas the avant- garde French Impressionist filmmakers were not concerned by such possible disorientation and were aiming at an elite audience, Carné’s attempt to integrate this innovative device in a mainstream narrative film highlights a key aspect of his filmmaking, his

in Marcel Carné
genre in Franju’s longs métrages

this group of films are the product of that which is abnormal and dissonant. And the dissonances, the sense of disorientation and unease, while frequently present at the level of plot and thematic development are, more importantly perhaps, always a function of the visual style of this group of films. (Harvey 1978 : 35) Since the term film

in Georges Franju
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Space as story

both films the pair succeeds in taking control of the space, breaking the repetitive cycle and leaving the restrictive walls. Also characteristic of these films is a disrupted and disorientating reconstruction of space, not so evident in the ‘inheritance films’ . There are subtle spatial disconnections, illogicalities which cause protagonists and audience alike to lose their bearings: the inconsistent appearance of the

in Jacques Rivette
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Princess is one of the forms of Death. All that is false. Your wife inhabits another world where I invite you to follow.’ 5 See Cocteau’s gleeful account of this scene in Cocteau 2003 : 98. 6 This process of disorientation is occasionally aggravated by odd inconsistencies

in Jean Cocteau
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Encountering difference

-induced disorientation of the central characters, this also prevents coherent development and constructs a sense of a lack of convincing transgression. Vernoux’s claim that her work pushed her characters ‘vers la gêne, le ridicule, la faible estime de soi – parce qu’ensuite on peut les réparer’ (Vernoux 2004 ) (towards unease, ridicule, low self-esteem – because then they can be mended) is most evident in this film

in Negotiating the auteur
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Les Amants du Pont-Neuf and the spectacle of vagrancy

, is a scene which succeeds in combining elements of ‘Lewis Carroll, Jack Arnold et Hergé réunis’ (Taboulay 1991 : 17). One of the notable aspects of this scene is that if the shift in proportions is associated with the drunkenness of the characters, then any disorientation in respect of the image and its internal proportions is as much the result of a ‘drunken’ camera as it is as a consequence of an inebriation attributable to them as characters

in Leos Carax

sisters away from the family gathering. The countryside outside the car becomes progressively blurred as close-ups of undergrowth form art brut patterns that eventually segue into a close-up shot of Claire’s sister’s hair ruffled by the wind. But camerawork is nonetheless disorientating. The camera is not only mostly handheld, but it rarely shoots Jean frontally; there are insistent shots of the back of his neck, or the back

in European film noir
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it develops in a period of uneasy transition from war to peace to cold war and draws on the cynicism, worldliness and social and sexual disorientation of returning ex-servicemen. Britain had different traditions and a very different experience of the Second World War. The temporary but real solidarity induced by the threat of invasion and the ordeal of the Blitz, the emphasis on communal life, the drive towards greater equality between

in European film noir

visually the central motif of the film: sensorial disorientation and temporal reversibility. Before the narrative even begins, the film has been foreshadowed for us through purely perceptual means. The first segment begins on a panning VLS of low-tide mudflats with mirror-like water, then LSs of boats on the mud, and an MS of three old sailors perfectly immobile, looking at the sea. ‘The old men are strangely immobile, frozen, on the wharf’, reads Epstein’s original scenario (reproduced in non-paginated illustrations in between pages of Epstein, 1976: 168–70). What is

in Jean Epstein