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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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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 Here, the episodic dramatic situations of the earlier comic work are superseded by techniques of fragmentation and abstraction: movement between colour and black and white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
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’ – or somesuch. It is also sadly true that not many years later it would have been considered important to show Letty arriving in town and crossing towards the front doors of the hotel. By first showing Roddy ambiguously – at the start we only see his back – Sjöström sustains the disorientation established in the first shot, and uses it to support the dramatic tension of the moment suddenly revealed in

in Film editing: history, theory and practice
The exposition scene in Buffy

uninterrupted, as well as for the first kiss between Tara and Willow to have its full force open to it. Not only this, though, but having Xander and Anya arriving from outside allows Whedon the chance to play with the interior and exterior in a fashion that hints at, even if it does not replicate, Buffy's perusal of the outside ‘real’ world during her confusion and disorientation in Act 1. The final shot of Act

in Joss Whedon

, ‘Hélène’s apartment is a masterpiece of disorienting space’ (Bersani and Dutoit 1993 : 190). Alienation and disorientation are captured too through Hélène’s actions and her restlessness. As the screenplay spécifiés: ‘Hélène ne s’arrêtera de bouger, d’aller et de venir. On va la sentir mal à l’aise, elle s’occupe, se perd dans mille gestes, se trompe, revient comme si elle avait oublié quelque chose

in Alain Resnais