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By exploring how laughter is represented in Kipling‘s ghost stories this article attempts a re-evaluation of how colonial and postcolonial identities can be theorised within the Gothic. Laughter, and the disorientation that it provokes, is accorded a Gothic function that destabilises images of colonial authority.

Gothic Studies
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Scoring Statham

are accompanied by the sound of heavy, laboured breathing. The effect is disorientating and it is a stylistic feature that returns on several occasions throughout the narrative. On-screen, time is variously slowed down and speeded up as electronic synthesised sounds begin to intrude and we are introduced to this stumbling figure. It is Chev Chelios. Palmer neatly sums up the image of Jason

in Crank it up
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provocative relation … exploring its problems and possibilities, testing its norms and conventions, and in turn being tested by it,’ the representational strategies deployed by these genre texts can thus be seen to differ from ‘stereotypical conceptions of mimesis,’ enabling in their thematic machinery and visual lexicon, as well as their narrative drive, ‘an often disconcerting exploration of disorientation, its symptomatic dimensions, and possible ways of responding to them.’8 And in so doing, they can be seen to proffer a critique of ideologies of liberty American

in The wounds of nations
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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

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
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High epic style and politicising camp

feminine. She shows that there is more space between feminine and masculine gendered identities than we might think; there is space for more, for a greater range of gendered identities. She signifies the fluidity of sexual characteristics because she holds them together in one performance. As such she disorientates. The female androgyne does not simply dress as a man. She performs androgyny – an in

in The films of Luc Besson
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Horror and the avant-garde in the cinema of Ken Jacobs

down a bottomless rabbit hole into a bewildering perceptual wonderland where previous understandings of space and time no longer apply. In making film new and strange again, Jacobs harks back to the disorientation Victorians might have felt the first time they rode on a train, listened to a disembodied voice on the telephone, or first viewed ‘moving pictures’. Jacobs

in Monstrous adaptations
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Blier’s ‘second career'

about self in the third person), and dramatic enactment. In Merci la vie the layering concept disorientates the spectator: we have a sense that we are watching a film within a film, but even this film seems to be part of another temporal and spatial mode. Here, the episodic dramatic situations of the earlier comic work are superseded by techniques of fragmentation and abstraction: movement between colour and black and white

in Bertrand Blier
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183 plotlines of his films suggest the style as of a piece with a notion of the world as alienating and threatening. The style is meant precisely to disorientate us. Later films are smoother at a time when the commercial vein had been found wanting. This, too, might arguably function as a form of cinematic dissidence in that breaching the divide between cine social and more commercially orientated genres problematises an over-simplistic divide between Spanish, European and Hollywood cinemas. Many Spanish directors do in fact utilise different genres and styles

in Daniel Calparsoro
Historical cinema in post-Franco Spain

complexities of the novel are replaced by a conventional chronological order of events in the film. These alterations align Camus’s film with a classic narrative model, prioritising a simplifiednarrative coherence over some of the essential qualities of Cela’s original. Here, spatial and temporal fragmentation and disorientation and the hive-like existence of post-war Madrid inscribe a strongsense of

in Contemporary Spanish cinema